I have seen three versions of the Wendell Wilkie novel: a 1940 grand guignol thriller with Tod Slaughter that is delightfully camp, this straight version, and a rather pretentious Broadway musical version that left me as cold as an English countryside fog. There are other versions which I have yet to see, so hopefully there is another version that is quintessential.
It's fortunate that the way original title was used, as there was already a film named "Laura", the name of the leading heroine here. The mystery of a mysterious figure in white, who looks exactly like Eleanor Parker's character, the heir to a huge estate. She's engaged to marry a rather sinister man (John Emery) who is aided in his schemes by the fiendish Count Fosco (Sydney Greenstreet), obviously up to no good from the start. Laura's protector is her cousin (Alexis Smith), aided by handsome artist Gig Young.
There are far too many characters, including Parker's second role, the mysterious woman in white; Greenstreet's somber wife (Agnes Moorehead), a devoted nanny (Emma Dunn), Laura's obviously mentally ill father (John Abbott) and other assorted servants that have a hand in the story but never seem to be fully encompassed as pivotal figures.
What does work in the film's favor is the sinister atmosphere and treacherous pacing, often nearing Gothic horror but never completely crossing into that mold. Greenstreet is quite camp, chewing the scenery like Henry VIII with a leg of mutton. Elements of the details prevent this from reaching excellence, but still, the film overall is intriguing and gripping.
It's fortunate that the way original title was used, as there was already a film named "Laura", the name of the leading heroine here. The mystery of a mysterious figure in white, who looks exactly like Eleanor Parker's character, the heir to a huge estate. She's engaged to marry a rather sinister man (John Emery) who is aided in his schemes by the fiendish Count Fosco (Sydney Greenstreet), obviously up to no good from the start. Laura's protector is her cousin (Alexis Smith), aided by handsome artist Gig Young.
There are far too many characters, including Parker's second role, the mysterious woman in white; Greenstreet's somber wife (Agnes Moorehead), a devoted nanny (Emma Dunn), Laura's obviously mentally ill father (John Abbott) and other assorted servants that have a hand in the story but never seem to be fully encompassed as pivotal figures.
What does work in the film's favor is the sinister atmosphere and treacherous pacing, often nearing Gothic horror but never completely crossing into that mold. Greenstreet is quite camp, chewing the scenery like Henry VIII with a leg of mutton. Elements of the details prevent this from reaching excellence, but still, the film overall is intriguing and gripping.