"Laura," the 1944 American film noir directed by Otto Preminger, delves deeply into themes of obsession and the construction of identity, particularly through the eyes of its male characters. The narrative centers on New York City Police Department Detective Mark McPherson, who investigates the murder of Laura Hunt, a successful advertising executive. As McPherson delves into Laura's life, he becomes increasingly fixated on her, an obsession that
shapes his perception and the audience's understanding of the titular character.
The Detective's Fixation and the Idealized Image
Detective Mark McPherson's investigation into Laura Hunt's murder quickly evolves into a profound obsession. Initially, he gathers information about Laura through the testimonies of those who knew her, such as the worldly newspaper columnist Waldo Lydecker, Laura's parasitic playboy fiancé Shelby Carpenter, and her wealthy socialite aunt Ann Treadwell. He also immerses himself in her personal effects, reading her letters and diary. This process leads him to construct a mental image of Laura, an idealized figure based on these accounts and her striking portrait hanging in her apartment. So deep does his fascination become that Waldo Lydecker eventually accuses him of falling in love with a dead woman. This fixation highlights how Laura's identity is largely formed by the perceptions and narratives of the men around her, rather than her own direct presence.
McPherson's obsession is further emphasized when he spends time in Laura's apartment, even falling asleep in front of her portrait. This act underscores his psychological immersion in her world and his growing emotional attachment to the woman he believes to be dead. The film, through McPherson's perspective, places the viewer in a similar position of fascination, making Laura's portrait, rather than the woman herself, a central point of fixation. This narrative choice suggests that the idealized Laura is, in many ways, an invention of the men in the story and, by extension, the audience.
Waldo Lydecker: Mentor, Manipulator, and Obsessive
Waldo Lydecker, a prominent newspaper columnist, serves as another key figure in the film's exploration of obsession. He presents himself as Laura's mentor, relating how he met her and used his considerable fame and influence to advance her career. He describes their relationship as platonic, yet his actions reveal a deeper, possessive attachment. Lydecker's jealousy of Laura's suitors is evident; he used his newspaper column and influence to keep them at bay, attempting to control her social and romantic life. His narration, which shapes both McPherson's and the viewer's initial image of Laura, is colored by his own possessive love and desire to maintain his influence over her.
Lydecker's character is also noted for its subtle coding of homosexuality, a common practice in Hollywood during the period. Film scholars have observed that Lydecker "never for a moment seems heterosexual," and the scenes between him and McPherson can be read as utilizing the period's "code" for homosexuality. This aspect adds another layer to his complex and obsessive personality, suggesting a love for Laura that deviates from societal norms and further fuels his possessiveness and eventual murderous rage. His final act, attempting to kill Laura again, underscores his belief that if he cannot have her, no one can, solidifying his role as the ultimate obsessive.
Laura's Return and the Deconstruction of an Ideal
The film takes a dramatic turn when Laura, believed to be murdered, reappears alive. This event challenges the constructed image of Laura that McPherson and the audience have built. The body initially identified as Laura is revealed to be Diane Redfern, one of Laura's models. Laura's return forces McPherson to confront the reality of the living woman, rather than the idealized figure he had become obsessed with. This twist not only propels the plot forward but also serves to deconstruct the notion of Laura as a purely imagined entity.
Despite her physical return, Laura remains, to some extent, a figure defined by the men around her. Her relationships with Lydecker, Shelby, and McPherson continue to shape her narrative. However, her reappearance allows for a more direct engagement with her character, moving beyond the "word-portrait" that critics noted Gene Tierney did not entirely match. This discrepancy between the idealized description and the living actress further supports the idea that the idealized Laura was an invention, and her return forces a re-evaluation of her identity within the story.
