Le crime était signé

Opening sequence is a shot of Times Square with one of the giant billboards plastered with a stories high image of New York "super" model Vicki. Cut to a seedy hotel where a sheet covered body is wheeled out to an ambulance, a toe tag reads Vicki Lynn. Cut to Jersey Shore resort, Richard Boone, NYPD homicide detectiv e, gets out of a taxi looking tired and in need of a vacation, he checks in and is about to go up to his room when he spots the headlines "Vicki Killed". He immediately goes ballistic and phones NY demanding to be put on the case.

Jean Peters, a cute waitress working the late night shift at a typical NYC late night dinner, is discovered by a publicity agent and society columnist. They proceed to make her over into the next "super" model. She becomes an overnight sensation much to the concern of her sister played by Jean Crain and gradually becomes ruthlessly ambitious.

Boone goes on an incensed investigation of Elliot Reid , the Publicity Agent , attempting to railroad him. This is more of a acting ensemble noir rather than visual noir, focusing on relationships, and it lacks much of the stylized noir cinematography or great set pieces that I relish. Regardless of whether or not you are a Richard Boone fan, you'll enjoy his portrayal of an obsessed cop. Peters is good but I still like her better in "Pickup On South Street". All the characters in this film are revealed to be corrupt to some extent.

Vicki (1953)

This film gets a bad rap. It's not brilliant, and it is a weaker version of the bold and gritty "I Wake Up Screaming," but it's beautifully filmed, tightly edited, and it has decent acting throughout.

The one acting exception might be the oddly cast main detective, who as a complex and critical role here, and who is miles from the original performer, Laird Cregar, in 1941. But on the same token I didn't think Betty Grable was convincing in the original, and the role here is filled with an appealing coolness, and a more crystalline beauty, by Jeanne Crain. And it's hard to ignore the astonishing Elisha Cook Jr. in the first version, compared to the awkward and overacted night clerk here.

Comparisons are hard to ignore because the plot is quite identical in both. It's a weird scenario overall, and it demands some forgiveness because of the trick played on the viewer by the detective. "Vicki" is told through a series of flashbacks, many of them, making for a highly constructed and rather choppy experience, which is intentional. The lead male besides the detective is a likable guy, a fairly ordinary fellow despite his position as a bigwig talent promoter in New York. When he is accused of killing the title character (the movie opens with a scene of her corpse being hauled away), it becomes a little Hitchcockian.

But psychology isn't a factor here, and neither is suspense. In fact, there isn't much to grip the viewer besides waiting to see how the plot will unfold, almost as a jigsaw puzzle where the picture in the puzzle doesn't matter so much as the shape of the pieces. Which is too bad. The elements are here for an amazing movie--and an amazing remake, even with today's style of filmmaking. It isn't a disaster, but it lacks a little on every front--except Haller's truly exceptional cinematography--and so we get a decent movie.

But if you like this at all, do see the more impressive (and also flawed) 1941 "I Wake Up Screaming," with a beefy and very different leading man in Victor Mature. And there is an undeniable influence from the slick and far better and more famous 1944 "Laura," complete with its title as a woman's name and a song being written for the movie. If you have seen either predecessor and are simply curious, you won't be ruined or angry if you watch this late noir from 1953, "Vicki." It's pretty good!

A fairly close remake of the 1942 proto-noir "I Wake Up Screaming," "Vicki" was filmed and released 11 years later. During the picture's opening credits, however, with its elegant music and close-up portrait painting of a beautiful murder victim, "Vicki" may instead bring to mind another Fox noir, 1944's "Laura"; I'd swear that the typeface of the titles of the two films is even the same! "Vicki" features a cast of "lesser names" than did "IWUS," but follows the same basic plot path. Here, Jean Peters plays the title role, originally portrayed by Carole Landis, of Vicki Lynn, a pretty NYC model who is murdered while on the verge of her big Hollywood break. Jeanne Crain fills in for Betty Grable, playing her sister (a huge upgrade in terms of looks and acting ability, I feel), and Elliott Reid (I know...who?) takes over for Victor Mature, as the publicity man who gets Vicki's career started. Richard Boone here plays Ed Cornell, the maniac cop on the case (a debatable improvement on Laird Cregar's hulking presence), while future TV mogul Aaron Spelling (!) plays a wacky hotel clerk, taking the part once essayed by the great Elisha Cook, Jr. So yes, lesser names, perhaps, but the presence of Jeanne Crain, one of the greatest of screen beauties, always helps carry a picture...for this viewer, anyway. "Vicki" is a fairly compact film with little flab. It is well played by all and features a moody score by Leigh Harline. Director Harry Horner, a man better known in Hollywood for his contributions as an art director and production designer, acquits himself quite well here, lavishing great attention on his use of light and shadow. Watching the film, I was also reminded, by Carl Betz' presence as a sympathetic cop, of another Fox noir that I had recently seen, "Dangerous Crossing" (a superior film to this one), which also stars Betz and Crain. In all, "Vicki" is a lesser noir, but still great fun. Oh...at the film's tail end, one of the characters is revealed as being a nutjob for having constructed a shrine to Vicki in his living room; perhaps I should consider scrapping the Jeanne Crain shrine that I was going to build in mine....

Cheaply produced remake of TCF's I Wake Up Screaming (1941). That's surprising since Fox was a big-budget, glamor studio, at a time too when production was turning to elaborate color films because of TV. Nonetheless, the b&w sets are uniformly drab, even when supposedly upscale. The visuals could really use more noir to spice up the drab. So who did kill heartlessly successful model Vicki (Peters). Seems like a lot of people had reasons, including cop Boone and sister Crain.

Film suffers from bland leading man Reid who unsurprisingly went from here to TV, and from Boone who's much better at being mean than being love sick—catch that last scene, one I expect the actor would just as soon forget. Future TV mogul Spelling also gets a big histrionic opportunity. At least he doesn't look like Hollywood. My guess is that director Horner is not at his best when coaching actors.

It's a complex plot with a lot of cross-currents, erratically worked out. Maybe the most interesting is Boone's anger at Reid for promoting hash house waitress Peters into the fashionable world of high-class modeling. Now she's literally out of Boone's class and Reid is to blame. So now cop Boone doesn't care who killed Peters, just as long as he gets even with "pretty boy" Reid. I don't think they taught that at the Police Academy.

Too bad the overlong screenplay wasn't pared down to eliminate the many dead spots, or that an A-list director wasn't put in charge. And too bad the production values don't measure up. But perhaps most unfortunate, it looks like a demotion for the under-rated Jeanne Crain after a number of A-films. But, it's 1953 and studios are cutting high-priced contract players, so I guess it's not surprising that the lovely Crain, who's the one bright spot in this film, left TCF after finishing here. Anyway, the movie itself amounts to an inferior re-make, unless you enjoy occasional camp.

Billboard and print model is found dead in her apartment; the New York City police get busy interviewing suspects, though the lieutenant on the case has personal reasons for wanting to find the killer. Adaptation of Steve Fisher's novel "I Wake Up Screaming" (its original title uncredited, perhaps because it was already filmed as such in 1941 with Betty Grable) gets strictly minor-league treatment here. Dwight Taylor's screenplay is uneven; director Harry Horner tends to overcompensate for the script's deficiencies by encouraging his cast to ham it up. Jean Peters, who looks like Jessica Walter and talks tough like Susan Hayward, was an odd choice to play the doomed, would-be starlet. Peters isn't the wide-eyed innocent/hash-slinging waitress the plot suggests, instead coming on with both barrels loaded. As her sister, Jeanne Crain has more of the Cinderella quality Peters should be projecting, and hers is the only substantial acting in the picture. Playing the gruff, snarling lieutenant, Richard Boone is way over-the-top, as is Aaron Spelling in an hysterical role as a wormy desk clerk. Just silly enough to be watchable, though it is never explained why glamorous Vicki is living in that dumpy apartment--nor how her photograph pre-death has managed to land on the cover of every single magazine at the newsstand.