Thomas M. Pryor of The New York Times observed:
When a murder mystery possessing as much sustained suspense, good acting and caustically brittle dialogue as Laura... comes along it might seem a little like carping to suggest that it could have been even better. As the story of a strangely fascinating female who insinuates herself into the lives of three very worldly gents, much depends, of course, upon the lady herself ... Now, at the risk of being unchivalrous, we venture to say that when the lady herself appears upon the scene via a flashback of events leading up to the tragedy, she is a disappointment. For Gene Tierney simply doesn't measure up to the word-portrait of her character. Pretty, indeed, but hardly the type of girl we had expected to meet. For Miss Tierney plays at being a brilliant and sophisticated advertising executive with the wild-eyed innocence of a college junior. Aside from that principal reservation, however, Laura is an intriguing melodrama ... Only Miss Tierney seems out of key. Perhaps if Laura Hunt had not had such a build-up, it would have been different. Anyway, the picture on the whole is close to being a top-drawer mystery.
The film's deceptively leisurely pace at the start, and its light, careless air, only heighten the suspense without the audience being conscious of the buildup. What they are aware of as they follow the story ... is the skill in the telling. Situations neatly dovetail and are always credible. Developments, surprising as they come, are logical. The dialog is honest, real and adult.
In 2002, Roger Ebert of the Chicago Sun-Times wrote:
Film noir is known for its convoluted plots and arbitrary twists, but even in a genre that gave us The Maltese Falcon, this takes some kind of prize ... That Laura continues to weave a spell – and it does – is a tribute to style over sanity ... All of [the] absurdities and improbabilities somehow do not diminish the film's appeal. They may even add to it ... [T]he whole film is of a piece: contrived, artificial, mannered, and yet achieving a kind of perfection in its balance between low motives and high style. What makes the movie great, perhaps, is the casting. The materials of a B-grade crime potboiler are redeemed by Waldo Lydecker, walking through every scene as if afraid to step in something.
Rotten Tomatoes reports that Laura has a 100% fresh rating, based on 45 reviews, with the consensus being "a psychologically complex portrait of obsession, Laura is also a deliciously well-crafted murder mystery."
Awards and honors
Joseph LaShelle won the Academy Award for Best Black and White Cinematography. Otto Preminger was nominated for the Academy Award for Best Director but lost to Leo McCarey for Going My Way. Clifton Webb was nominated for the Academy Award for Best Supporting Actor but lost to Barry Fitzgerald in Going My Way. Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt were nominated for the Academy Award for Best Adapted Screenplay but lost to Frank Butler and Frank Cavett for Going My Way. Lyle R. Wheeler, Leland Fuller, and Thomas Little were nominated for the Academy Award for Best Black-and-White Art Direction and Interior Decoration but lost to Cedric Gibbons, William Ferrari, Paul Huldschinsky, and Edwin B. Willis for Gaslight.
In 1999, Laura was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
American Film Institute recognition
- AFI's 100 Years...100 Movies – Nominated
- AFI's 100 Years...100 Thrills – #73
- AFI's 100 Years...100 Passions – Nominated
- AFI's 100 Years...100 Movie Quotes:
- "In my case, self-absorption is completely justified. I have never discovered any other subject so worthy of my attention." – Nominated
- AFI's 100 Years of Film Scores – #7
- AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated
- AFI's 10 Top 10 – #4 Mystery Film