Emma Rees- Objects of Art: Laura

Opening Sequence Video

Objects of Art: Laura

        “I shall never forget the weekend Laura died.” This narrated line over a black scene immediately sets up a chilling atmosphere when we have yet to see anything. Laura (1944) begins with a narration by columnist, Waldo Lydecker, who utters a line most famous that sets up the film’s genre and tone from the get go; “I shall never forget the weekend Laura died.” And despite not being present for most of the film and usually talked about in flashbacks or diary writings, Laura maintains a large influence over the male characters in the film. While this daunting line continues to stay with the audience throughout the film, it is later revealed that the character, Laura, is in fact, not dead at all. Many people overlook this part of the film because of the preceding idea that intro scenes provide nothing more than background information and introductions. But that is exactly why this scene needs a close analysis because it demonstrates Lydecker’s personality, how he does not love Laura, but simply wants her because of his objectification, and the differing contrast between him and McPherson that foreshadows a protagonist and antagonist storyline.  

        A pan shot depicting magnificent works of art from a statue to a seemingly harmless clock with a somewhat cheery soundtrack in the background moves the audience from the continuing narration of describing the feeling of sorrow with a happy go-lucky vibe. Contrasting between Lydecker’s voiceover and brightly lit décor, demonstrates his materialistic and fanciful life that rings true of nostalgic undertones. After the pan from left to right, we have a medium shot on McPherson who seems to be fascinated by this kind of environment. His hard-boiled detective presence contrasts him from this frivolous and lavish home of a person fond of beauty. Lydecker hates surprises and makes him wait in frustration at the intrusion, this implicates the division between the two and foreshadows how their relationship will turn out-a villain vs the protagonist. Next, we have in inversion of camera shots-the camera pans continuously from right to left when the clock chimes and symbolizes McPherson taking on an active role with his movement. He looks dismissively at a clock that makes a bigger appearance later in the film and makes his way into the bathroom when Waldo sharply demands he be careful with is possessions

As a newspaper columnist, it makes sense for him to talk in fluffy words and meet him typing away, naked in a bathtub upon the first time we are introduced to Lydecker in person. Well, that last part is slightly confusing because he blatantly exposes his entire body to the detective investigating the murder, McPherson. This implicates homosexuality from Lydecker which makes his obsession all the more interesting. If he does not love her, sexually or platonically, then what kind of love is it? Or can we even call it love? The kind that’s associated with obsession, perfection, and the idealized image he views her as would not necessarily be called love, but objectification. Perhaps he loves the idea of her, the creation he’s made. Later in the film, we see him mold Laura into the woman he believes to be the best with the right hairstyle and fashion. This goes in hand with the pan of artwork he has collected because he wants the best, and Laura is the best.

When McPherson walks into the bathroom where Lydecker sits in a bathtub, he has his typewriter between the two of them. Unlike other antagonists in noir films who use guns or physical power, Lydecker uses his words and columns as a “weapon of distinction” to tear people’s reputations down and protect what he thinks is rightfully his. Throughout the entire scene, his narration is full of fanciful words that match the interior design of his home, attention-grabbers are present everywhere because he wants attention. While Lydecker’s words begin with the sorrowful death of Laura, he continues to describe how he feels instead of the loss of a friend. He is also the one to have the last word at the end of the film with his declaration of love while death is at the door. Even then, after Lydecker’s declaration, he can’t help but talk about himself and refocus the attention back on himself.

Noir is evident throughout the entire film of Laura and has a huge presence in the beginning scene. We’re introduced to the plot of a murdered woman and the hard-boiled detective. Bringing along Lydecker adds the element of an expensive life-style who “never bothers with details” and prefers his interpretation of the world to reality. Compared to McPherson who is just “one of those detectives” and lives in the world of crime, it’s natural to see Lydecker as a possible villain right from the get go. Waldo Lydecker may not be able to be the perfect image of a noir villain living in wealth but it’s clear that his flounce of words dripping with venom are not to be overlooked.