AMERICAN BLACK FILM: LAURA DE OTTO PREMINGER

Many movies have been made with police officers, some as conventional as the ones Stallone has shot or as interesting as the ones starred in Clint Eastwood as Dirty Harry, but New York has also been the setting for such well-known titles as Apache District: the Bronx ( 1981), by Daniel Petrie, where Paul Newman and Edward Asner shared the lead, in an interesting film about the difficulties of the New York police, but there are shocking ones, almost scatological, like the one starring Al Pacino under the command of William Friedkin On the hunt (1980), a film where the policeman enters the dynamics of the homosexual world, to discover a murderer of gays, an objective that will gradually transform the policeman into another man, a being transformed by the world he has known, in the famous final scene when his girl, Karen Allen, calls him and he already knows that it is not the same man, but a very different one, something has changed in his sexuality.
But there are more classic ones, films that have not lost an iota of their greatness, such as Laura (1944) by Otto Preminger, where Dana Andrews is the policeman in charge of discovering the murder of Laura Hunt. The policeman undoubtedly has a great role because he maintains his weight in the story; he is the man who interviews everyone who knew Laura, the one who will discover that Laura has not died and the one who falls in love with the beautiful woman (a role played by Gene Tierney, one of the most beautiful women in classic American cinema).