Die Geschichte der Laura M

David Hamilton's "Laura" has got to be one of the most gorgeous erotic films of all time. The story of a young girl's sexual awakening is a rather simple one, and certainly more based on fantasy (more specifically, 'male fantasy') than reality. 15 year-old Laura (Dawn Dunlap) lives in a pastel world where everything is white, everyone is beautiful, and nothing is quite real. Laura develops a fascination with the much older Paul, a sculptor with an eye for a special kind of beauty. The conflict here, is that Paul is the former lover of Laura's mother Sara, (Maud Adams). Here develops a classic situation of mother/daughter competition. When Paul sees the beautiful Laura, he is smitten, at the girls beauty, and also at how she resembles Sara, at age 15. Sara's attempts to keep the two separate are not entirely successful. Filmed on the French Riviera, in soft focus style, by renowned photographer Hamilton, you can imagine the look of the film, if you are familiar with his work. It is strange, quiet, dreamlike, quite unlike anything i have seen before. Quite controversial too. Dawn Dunlap, who was not so much older than the character she played, is very graceful and nice to look at, and former Bond girl Maud Adams is incredibly beautiful in this one as well. Although the character of Paul, (James Mitchell) is supposed to be close to 50 years old, the relationship between him and Laura is not so hard to take, as he is also a very handsome guy, who looks nowhere near his age. Also worthy of mention is the lush, dreamlike soundtrack that accompanies these images. One scene that stands out is a dream sequence; Filmed in black & white, Laura is running through a maze of little streets and alleys, looking for Paul, but he continues to allude her. Very nicely done. Hamilton creates a kind of quiet suspense, as the viewer waits for the time when the two get together. While there is nudity in the film, it is all done with the utmost of taste and subtlety. One thing: I cannot stress how important it is when watching this film, that you see the original French language version. The English dubbing for this one is wretched, absolutely dire. It is not even proper English, but American English, and it totally destroys the feeling and tone of this very French film. I first saw it in English, and I didn't think too much of the film, as the visuals were great, but the voices and dialog were so bad. When i saw the French version, it was like another experience entirely. Usually i don't mind voice dubbing so much, but here it is intolerable. I think that a lot of reviewers here have only seen the easier to find English version, which might explain the films low rating. "Laura" is a very classy erotic film, in it's original French language.

Sometimes a movie can be merely about its images, like this one. The story can be about the images too.

I was very impressed with the way vignettes were composed. Rather lovely, most of them except for the annoying fade to black at the end of each and every one. To appreciate this, or rather to not be offended, I suppose you have to accept that the female form is appealing, and accept that a young girl can initiate an affair with an older man.

Besides the appeal of the balletgirls and the way they are displayed, there's the story.

It isn't much of one, surely insufficient for most commentors, and the fact that it is so slight seems to rile them a bit, as indication that the nudity was all that mattered.

But the elements of the story that do exist are what I call "folding." Usually the purpose of folding is to place the viewer in the movie, and that's the case here.

We have an artist in the writer/director who represents young girls in the nude. He and we have a surrogate on-screen, in a character who is an artist (a sculptor) and represents young girls in the nude. The titular Laura is a dancer, inviting viewers.

So far, the fold is ordinary. By the thinnest of plot devices, our sculptor goes blind after starting a sculpture of Laura. So she offers to be the model, allowing him to caress her on every part, sufficiently to make a clay copy, which he similarly caresses. She, meanwhile has a crush on him and seduces him during this process.

See the fold? We not only get to look but touch, and that touch is returned.

No, ma'am that's not a slight story. No, not at all.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Artists are inspired by myths, and this picture-poem starts with an artist having a visionary view of the birth of Venus. To director David Hamilton this is a look at a woman before life leaves its many marks on her. Both Hamilton and the artist wants to freeze this moment of Adam-and-Eve-innocence, and both do it with sensual devotion. The innocence gets lost on the way, as we all know it will be - but in Hamiltons dream, as well as in his life as photographer, the sensuality not only remains, but grows stronger. Maud Adams shows as mother a strong believe in this, watching her daughter growing up. As the daughter, Laura, sees Dawn Dunlap.

Other comments shows too much interest for the amateurish acting in this picture-poem. As a mirror reflecting a world where we think too much and too little at the same time. We think too much with our senses turned off, and too little with our senses turned on. Brigitte Bardot was once asked by a journalist: "What do you think about free love?" Brigitte Bardot answered: "I don't think when I make love". If Hamilton was asked about his movie-theory for "Laura", he would probably answer: "I don't make movies, I'm just dreaming". The camera catch the dream and makes it possible to share it - and I'm very grateful that it has been possible for me to share Hamilton's dream.

David Hamilton is a child of a time - the 70's - where everybody was searching deep and wide, and he became famous in that time. Men like to see his pictures of girls, but back then it was the mothers who asked him to photograph their daughters. The style in Hamilton's picture-poems was not unusual for European movies in the 70's. A danish movie was inspired by Robert Frost: "The woods are lovely dark and deep / but I have promises to keep / and miles to go before I sleep." Perhaps the meaning in that poem is the reason why Hamilton wants to share his dreams.

I was 12 when this came out, saw it later in the 80s and currently picked up the dvd at a charity shop and watched it again as an old man lol. It was nice to see something you saw as a young man and look back and realize how simple yet complex being young was in those days, we were kids but thought we were adults at 15, (Dawn was 17 in real life) most of us were experimenting or well past at that age, or at least my crowd was. I remember a few girls in grade 8 that looked 18 that were carrying on with our gym teacher on lunch breaks in his van doing the cheech and chong and get naked routine, (yes Julie L I'm referring to you ha ha)

As far as the movie goes it was all over the place and though it didn't seem to be put together well, it made sense. Some people have commented why the mother sent pics but wouldn't allow him to see Laura, well she wanted him to remember her and tempt him back using Laura's beauty since her marriage was dead. She wanted him for herself until she realized he only loves illusions of women. That's why she wasn't angry at her daughter or Paul when she allowed the daughter to say goodbye to her "ballet friends" but saw him instead before being sent away to school or wherever, mom knew it would be good for her to close that chapter and Paul was innocent enough. Another comment was how did Paul just walk in the ballet class and not get questioned? Well his helper was in the class and invited him along to see the girls, simple. As far as the age gap, looking at it with North American eyes it may seem a little too much, but in France you can drink wine at 12, date older men and it's nothing to look twice at, I think it was a nice slice of coming of age and reminding us we were all nubile and young at one point, we never change totally, just grow older.

David Hamilton is so impressed with himself as a photographer, that he has convinced himself he can make a good film. Well, he's wrong. For example, I have a theory that he saw a good use of a fade out in a movie once and thought that if one fade out is good, then 75 of them must be great! Again, he's wrong. There is one sequence where Sarah (Maud Adams) is speaking to her daughter Laura (Dawn Dunlap) who is lying in bed. The camera shows Sarah talking and then slowly fades out to black only to shift to Laura in bed as she responded directly to her mother and continues the conversation. Maybe Hamilton felt this would make the dialogue have more resonance. Again, he's wrong. I've noticed that Hamilton is wrong a lot in this film. The movie fails on so many levels that I cannot begin to list them all here. All I can say is that you should avoid this movie at all costs. I give it a 1/10.