LAURA’s opening shot

“They are not long, the weeping and the laughter,

Love and desire and hate:

I think they have no portion in us after

We pass the gate.

They are not long, the days of wine and roses:

Out of a misty dream

Our path emerges for a while, then closes

Within a dream.”

(Ernest Dowson’s poem “Vitae Summa Brevis”, read on radio by Waldo Lydecker in the last scene of LAURA)


Theater had been a major part of Preminger’s life since he was sixteen, as well as a favorite source of inspiration throughout his whole career. Although among the least “theatrical” of film directors, Preminger has often set up the first scenes of his films as dynamic “tableaux”, using the latters to unveil the narrative issues at stake, and to also put the protagonist squarely “at home” in a subtly evolving milieu. Sometimes he even planted maliciously several hidden clues in these first scenes, clues that would assume their full meaning at the end – as in the case of LAURA.

What could be less “cinematic” than a black screen? And yet, since the early 40s, many films (REBECCA, LAURA, I WALKED WITH A ZOMBIE, etc) open in total darkness or in mysteriously foggy atmospheres, combining pensive “out-of-this-world” voices and music in order to catch our immediate attention, and to immerse us in a world of dreamy recollections and anguished questionings. The protagonist, still invisible and faceless, is all the more impatiently expected to materialize in a grand manner. But in the meantime his “ghostly” voice fully invades our conscience, making us totally receptive to his feelings, words and interrogations. His musical, hypnotic timbre induces a strong emotional rapport, making of us his willing captives.


LAURA’s credits unfold over the film’s key “prop” : the portrait of the “deceased”, a vibrant post-romantic homage magnified by David Raksin’s spellbinding musical theme, soon to be a standard. This graceful but slightly stilted representation of Laura will have to satisfy us, until the time we meet the heroine “in the flesh”. Later in the film, Waldo will inform us that the painter (Jacoby) was in love with Laura but unable to catch her radiance. Nonetheless, the model’s considerable natural charm works, putting us, viewers, in the right mood to savour the evanescent presence/absence of hers.

The luminous image of the heroine quickly fades out, and, following after a very short pause, the darkened screen envelops the first words of Waldo’s eulogy : “I shall never forget the week-end Laura died…”

What might such a voice have conveyed to an audience that hadn’t yet seen or heard Clifton Webb on screen? Let us try to dissociate if from the ascetic physique of Webb, so ideally suited to Waldo’s appearance. Let us try to react to those words, as if they were – and were – pronounced by an abstract entity; a ghostly figure reaching us through the night.

This light, supremely elegant timbre clearly belongs to a cultivated, refined man – one who cherishes words, picks them with unerring taste and precision to convey or mask his thoughts and feelings, to impress and dominate. Words are Waldo Lydecker’s favorite “weapon of distinction”. They strike, scratch, cruelly bite, literally leaving others speechless. This master of soliloquy would never bother to exchange ideas, he just wants listeners to appreciate his acid “bon mots”. He will be the one to have the last word – that is, until Laura turns her back on him. His ultimate declaration of love, at death’s door, will come too late.

To celebrate the most important (indeed, the ONLY one) love of his life, the old, allegedly reformed misogynist and certified misanthropist can’t do any better than talk about… himself. With his “I shall never forget…”, he invites us to share his reminiscences, thus putting himself firmly at the centre of the narrative. A position that will however be challenged in the middle of the following 90-second opening shot…


Fade-in shows portion of half-lit salon, Waldo’s NYC apartment. Sunday, early morning, already hot. Shot opens with a close-up of an oriental statuette. Camera slowly tracks from left to right.


Camera shows the back of a big transparent display cabinet. An impressive collection of glasses, crystal, a precious flask, etc.


Traveling continues slowly, revealing a rare model of a “grandfather clock” (visual CLUE given here: a comment will quickly indicate that Laura has the SAME clock at her place.) Waldo comments on his loneliness in the deserted New York, and the poignant feeling of loss since “Laura’s horrible death”).

Through shutters of a half-open French window: a sunny terrace…


Camera now pans to the right, showing other French windows of that luxurious salon, all half-closed, as well as its furniture: a large sofa, a crystal chandelier, etc.


A significant change occurs NOW. Until then, the viewer felt immersed in the stilted, suspended time: the immobile PAST of remembrance, melancholy, morbid delectation. The PRESENT swiftly breaks in on screen, when inspector McPherson is revealed in medium long shot…


Despite his affected nonchalance, McPherson is intrigued by this singular environment. Until now he was more familiar with lower class crimes. His presence seems a little odd in that elegant, “lavish” home of a refined egotist, collector and lover of inanimate beauty.

McPherson’s presence reminds us that there is a rough, “vulgar” world beyond that luxurious, protective setting. One thing is clear, Waldo hates being intruded upon: “I had him wait”, says he, clearly piqued.

Camera  pans up and right, to a closer shot of Mark, looking at exotic masks hanging on the wall…

McPherson smirks, probably thinking it’s just one Waldo’s fads.


Clock chimes. McPherson, vaguely intrigued, walks towards the clock, followed with RIGHT TO LEFT PAN


Since the start of this long take, the camera moved continuously from LEFT TO RIGHT. This sudden INVERSION signals that McPherson is now emerging as an active “movement initiator”. Space “folds back” around new axis, thus making McPherson  the center of attention until the end of the take: the space that had been Waldo’s exclusive domain now seems to “belong” to McPherson.



A short tracking shot “reframes” the  back of the display cabinet. McPherson studies Waldo’s precious glass collection from behind the sliding door…


The camera stops. McPherson opens the cabinet and boldly extracts one of Waldo’s most precious possessions…


Waldo (off-screen, sharply): “Careful there, that stuff is priceless”

McPherson casually puts the crystal flask back inside,


and walks towards the BATHROOM, on a brief right-left pan


We briefly see him open the door. END OF the 90-SECOND TAKE

O. E.

10 comments on “LAURA’s opening shot

  1. Elvis says:

    Was there any special significance to the flask McPherson was handling?

    • I have no idea, except for the fact that all the glass and cristal displayed in this cabinet are precious and fragile – which is probably how Waldo sees Laura. The way McPherson abruptly grabs the flask reveals him as the potential “thief” who’s going to steal Waldo’s most precious “possession”.

      • Elvis says:

        Thank you for answering. Your “fragile & thievery” explanation makes sense, but I’d bet there was some deeper reason that item was chosen for McPherson to handle. It looked like it had two caps…like a double flask. The more films I watch, the more I realize that many “insignificant details” are actually carefully planned. I think there is some meaning attached to the flask but it’s probably lost to time.

      • Preminger relished the quest for “hidden meanings” but did not encourage it as far as I remember. What would be your own suggestion? “Laura” has indeed quite a few symbols (the gun, the clock, etc), and that opening scene “plants” quickly the famous clock and has a series of masks on the wall. The flask makes a rather quick appearance, I don’t know how many spectators would really notice it other than its being “priceless”. As to its shape… I can’t find what it’s supposed to suggest, but am more than willing to hear further about it. So, let’s continue with these “anatomies”…

  2. Elvis says:

    I wish I had something concrete. It’s really just a feeling that it must have meaning.

  3. Susan L. Topper says:

    This is not the original begining of the movie.

  4. Susan L. Topper says:

    I saw the movie”laura” when I was around 12 yrs old. I was home sick from school. My mom set up our portable tv on a stand and said watch this movie…you will really like it. In the beginning of the movie the camara slowly moves across a moonlit room. You could hear low voices (a man and a womans), and tinkling ice in glasses. The door bell rings and all gets quiet. There is some movement then you see from the knees on down a women walking across the floor in mules(night slippers) and silk bathrobe. She answers the door on the second ring. There is a darkened figure standing in the door way and he shoots her. She falls to, the floor and then Waldo starts ‘I shall never forget…..’ My mom was correct…I loved this movie.

    • Hello Susan, and many thanks to you for this recollection. This is of course a total reconstruction of the actual beginning of Laura, but a very nice one, that fits Shelby’s account to McPherson. Memory mixing with dreams, we quite often imagine scenes that never were to be seen ; it even happens to serious film historians…

  5. Clive Johnson says:

    I came to this page because I was interested in the importance of Dowson’s poem in the story. I have watched the film several times and have always felt that Waldo regarded Laura as a precious possession. His interest in her was at odds with his exhibitionism in the opening exchange with Mark. Dowson’s refined decadence was appropriate.

    • Thank you for your comment. I totally agree with it of course, having made a similar, more “visual” approach of the opening shot (the “invaluable” object in the vitrine, which McPherson is about to touch.)

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