Love is stronger than life. It reaches beyond the dark shadow of death. Otto Preminger's 1944 noir classic tests how far love goes, and Double Take breaks it down.
Because Laura rose from the dead and defied McPherson’s orders by speaking again to Carpenter, he labels her as a typical femme fatale: “Dames are always pulling a switch on you”.
Steve Pick: Here we turn our attention to the 1944 film entitled Laura, clearly named long before anybody ever thought about how difficult it might be to perform a Google search on something with such common nomenclature. This Otto Preminger joint was noir before there was noir, with all the shadows, camera angles, tough-talking semi-disinterested detectives, sex, and complicated crimes that would make the post-war movies so much fun to watch. But unlike the later films, Laura takes place entirely in a world of well-to-do society people, where money is never a problem. Despite the title character’s job in advertising, she lives in an apartment that requires inherited money to pay for the exquisite furnishings. She has a maid, who almost steals the show in her big set-piece of inquisition, despite being surrounded by some big time scene-stealers.