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A film noir classic comes to DVD for the first time packed full of more extras than expected, “Laura” tells the story of a society beauty (Gene Tierney in a career defining performance) murdered for no apparent reason. Detective Mark McPherson (Dana Andrews in a hardboiled strong performance) investigates her murder questioning the men in her life beginning with a witty critic Waldo Lydecker (Clifton Webb in a deliciously droll performance and in a major come back) and playboy Shelby Carpenter (Vincent Price). Seen in flashback, we discover Laura’s background and how she rises from the middle class to world class society beauty with the assistance of those men in her life. Things take a surprising twist when McPherson meets the very woman who was murdered. If Laura is alive whose body was discovered and identified as her? A marvelous suspense thriller with elements of film noir, “Laura” continues to be haunting sixty years on.

We get the A&E Biography programs on Price featuring interviews with Price biographer Lucy Price Williams, Price’s daughter, friends and film co-workers. Price initially joined Orson Welles’ Mercury Theater in New York. The droll comments by actor/writer Norman Lloyd about their experience together in the Mercury Theater alone makes this biography worth watching. Price had an easy going and natural style that still seems contemporary and when seeing his performance with other more affected performers of the time. His debut in a 1933 Constance Bennet comedy more demonstrated his flair and versatility. Over the course of seven years Price played everything from Brigham Young to the King of France. One of the cinema’s most underrated performers, Price’s performances particularly here continue to sparkle with wit and power. ***

Gene Tierney’s A&E Biography is a marvelous biography every bit the equal of the Price biography. Tierney began smoking to lower the pitch of her voice (at the advice of a studio executive) because she didn’t like her voice thinking that she sounded like Minnie Mouse in her first film (she died of emphysema as a result of her life long addiction). Tierney’s life had its tragic turns comparable to that of other beautiful stars of the day. She tumbled into depression after a failed marriage to costume designer Oleg Cassini and the birth of her mentally handicapped daughter rsulting in her absence from the screen for nearly seven years. Tierney discovered that all the money she earned as an actress during the 40’s was squandered by her father to support his failing business without her consent. ***

We also get a deleted scene (a rarity for films from this time) consisting of a montage sequence detailing how Lydecker taught her about the finer things in life. It was feared that the “decadence” on display would offend troops fighting overseas. We also get a theatrical trailer which demonstrates how bad this fine film might have looked like without the fine restoration seen here. This alternate opening deleted after the first screening has been integrated back into the movie so you may watch either the original version or the edited version that’s been seen by millions over the years. ---

Historian Rudy Behlmer’s commentary track tends to be the drier of the two tracks. He provides extensive background on the performers, the novel, director Otto Preminger. His comments on how Preminger had to fight for actor Clifton Webb to play Lydecker because of his well known homosexuality are particularly enlightening. Behlmer reads excerpts from Preminger’s autobiography giving us insights from the director and writers of the project. Initially the writers wanted “Laura” to be a Broadway play before a film. Derailed; by politics and other issues, the script became a film instead despite lukewarm interest from MGM. MGM wanted to do the film as a “B” movie mystery while Fox had higher aspirations for the project. Preminger convinced the studio to buy the book. Initially working only as a producer on the project (his film failures had damaged his aspirations as a film director), Preminger took over direction from Rueben Mamoulian (“Dr. Jekell and Mr. Hyde”) early on during the shooting of the film replacing the director after he butted heads with Preminger. ***

Film composer David Raskin’s commentary track is absolutely charming, involving and although his memories of the film have been colored by time, it’s also a lot more inviting. Raskin’s haunting, wistful romantic score acts as a perfect counterpoint to the action and, at other times, underlining the emotional core of the moment. ---