If the streets of noir world had names, Arrogant Alley would surely be one of them. And Waldo Lydecker would be its most prominent resident. Clifton Webb's return to the screen at the age of fifty-four gave him his most enduring film role and us the most acerbic wit ever in film noir.
Based on the Vera Caspary novel of the same name, Laura (1944, dir. Otto Preminger) is a classic whodunnit. Who killed advertising executive and socialite Laura Hunt (Gene Tierney) and why? That's what Detective Mark McPherson (Dana Andrews) wants to know. We have Waldo Lydecker, Laura's longtime friend; Shelby Carpenter (Vincent Price), Laura's fiance; and Ann Treadwell (Judith Anderson), Laura's aunt, as our main suspects. But really, anyone could have done it. Everyone loved Laura, but to what extent? Everyone wanted to be Laura, but how much? McPherson, of all people, should know this, seeing as he immediately falls in love with her. With her portrait, that is. Oh boy.
The opening credits give us the famous and etheral Laura theme, by the great David Raksin, followed by perhaps my favorite opening line in noir, 'I shall never forget the weekend Laura died.' This is Waldo Lydecker. He and McPherson start off on the wrong foot when McPherson goes to interrogate him. He walks into Waldo's parlour, or rather, bathroom, where Waldo is, well, having a bath. And typing at the same time. He's a newspaper columnist. So logically, he's a famed wit who often gets misquoted, dines at the Algonquin, thinks his lunch is more important than anyone or anything else, and shall be sorry to see his neighbor's children devoured by wolves. He'll tell you all of that himself.
'In my case, self-absortion is completely justified. I have never discovered any other subject quite so worthy of my attention.' Waldo Lydecker
He tells McPherson about how he and Laura became acquainted. Cue the flashback. A young Laura approaches Waldo at the Algonquin, asking him to sponsor a new pen her company is developing. He dismisses her at first, but then the two become friends. Naturally, he becomes a suspect in her murder along with everyone else.
But everyone else doesn't have Waldo Lydecker's wit. Or his charisma. Or his relevance in the New York City social circles. Or, indeed, his column. Waldo Lydecker has a way with words. He can charm his way into any situation, then wittily insult you right to your face afterwards. He can. He's the most powerful columnist in the country.
'I'm not kind, I'm vicious. It's the secret of my charm' Waldo Lydecker
He charmed Laura, too. She became his companion, his friend, his muse and the object of his affection, platonically or otherwise. And she was indeed very fond of him. She could see beyond his rough exterior. Waldo Lydecker, deep down, was just as insecure as everyone else. And Laura gave him comfort. Friendship. She understood him better than anyone else. She gave him the love he needed.
'Love is eternal. It has been the strongest motivation for human actions throughout history. Love is stronger than life. It reaches beyond the dark shadow of death.' Waldo Lydecker
Waldo Lydecker is not as indestructible as he makes himself out to be. He falls victim to what he feared the most. He crumbles when he thought he wouldn't. Because love is eternal. And Waldo Lydecker is an unreliable narrator. He charms everyone in his path, including the audience. But we're safe. We're just watching him. The same cannot be said for Laura.
Waldo Lydecker is the second Oscar-nominated performance featured on The Losers of Film Noir, after Moe Williams - he lost to Barry Fitzgerald for Going My Way (1944). Shockingly, this is also the first time I've featured a film that won any Oscar, in any category. Joseph LaShelle won Best Cinematography, Black and White, an extremely deserved win, in my opinion. But to me, it is indeed Waldo Lydecker who steals the show. And he would agree with me.
We bid farewell to Waldo Lydecker and Laura. Our next loser is a screenwriter who becomes a suspect in a murder case. The film is In a Lonely Place (1950), the actor is Humphrey Bogart and the loser... is Dix Steele.
See you on the sunny side of the street.
“I love you, Laura. Please let me show my affection via both barrels of this shotgun”
Brilliant!!! In a film that is supposed to be about Laura, Waldo Lydecker makes it all about himself. How clever is that ?