The untimely murder of a New York glamor-girl sparks an investigation with an emotionally driven detective at the helm.

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Cast

Complete credited cast:
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...
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...
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Larry Evans (as Casey Adams)
Alexander D'Arcy ...
Robin Ray (as Alex D'Arcy)
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Storyline

Supermodel Vicki Lynn, whose face is seen everywhere, is murdered, and ace homicide cop Ed Cornell cuts his vacation short to take the case personally. In flashback we see how Vicki rose from ambitious waitress to big black headlines, courtesy of clever publicity man Steve Christopher. Now Cornell seems determined to get Christopher convicted in what begins to seem like a bizarre personal vendetta. Is Steve caught like a rat in a trap? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

"She Had Everything a Man Could Ever Want And Lived the Way No Woman Ever Should!" See more »


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Approved | See all certifications »
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Details

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Release Date:

5 October 1953 (USA)  »

Also Known As:

Le crime était signé  »

Box Office

Budget:

$560,000 (estimated)
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The use of the quote, "The butler did it," was at that time a recognized joke. It played off the spoiling of the ending of a play or movie by a big mouth in the audience. It did not refer to the plot of the film being shown in that theater. See more »

Quotes

Steve Christopher: Slug me with those, Cornell, and I'll square you off if it takes me the rest of my life.
Lt. Ed Cornell: You're not gonna have a very long life, Stevie. You're like a rat in a box, without any holes. But they're gonna make a hole for you...six by three, filled with quicklime.
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Connections

Version of I Wake Up Screaming (1941) See more »

Soundtracks

I Know Why (and So Do You)
(uncredited)
Music by Harry Warren
Lyrics Mack Gordon
Performed by Jean Peters at the Club Capri
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User Reviews

 
Intriguing remake of classic 40s obsession-murder thriller undeservedly obscure
31 March 2002 | by (Western New York) – See all my reviews

Despite showing the makings of a superior – potentially classic – film noir, Vicki falls just short of that goal. For the second time in the noir cycle, it tells the story of Vicki (or Vicky) Lynn, whose swift rise from hash-slinger to model to toast of the town ends in murder – a crime of passion. It first reached the screen in 1942 under the title I Wake Up Screaming, based on a serialized novel by Steve Fisher. Eleven years later, 20th Century Fox decided on a close remake, which obviously did not go back to the novel but simply freshened up the original script a little – some of the lines remain the same, as do occasional pieces of blocking and shooting.

We first catch site of Vicki staring out languidly from a panorama of posters and billboards that display her face to push luxury items. But almost immediately the glamour turns to ashes as we watch her carried out of her brownstone apartment on a stretcher. Her central role – the haunting linchpin of the drama – is told in flashback (and substantially expanded from that of the previous film version). The role falls to Jean Peters, whose screen career was cut short by her marriage to Howard Hughes; but here, she fails to generate half the magnetism she did in Pickup on South Street, of the same year.

The expansion of Vicki's part is only one of the subtle shifts among the dynamics of the characters. Jeanne Crain, in the early twilight of her stardom, portrays the sensible-shoes sister who cautions Vicki against the false lures of the big town but helps track down her killer. As the publicist who first dangled those lures, making Vicki a shooting star, Elliott Reid can't work up much sympathy as the prime suspect (he's too weak and generic an actor). So the movie's impact rests principally on the homicide cop who carries a secret, smoldering torch for the dead girl – in this version, Richard Boone. Again expanded from the first filming, the performance may be one of the hard-to-cast Boone's best. Not yet victim to the character-actor ugliness that was to befall him, he shoulders his obsession heavily, almost sadly (though he plays much nastier than Laird Cregar did in 1942). And in the small but pivotal role of the desk clerk in the sisters' digs, the earlier Elisha Cook, Jr. is supplanted by Aaron Spelling; Spelling, who would become one of the wealthiest and most powerful men in Hollywood, can't dispel the spell Cook works on us (and excuse those irresistible puns).

The emphasis in Vicki ultimately falls differently from the way it did in I Wake Up Screaming. In 1942, it was offered as a stylish mystery, a Manhattan whodunit. By the early fifties, it had become a story of obsession – a psychological thriller a la Laura, with the same skittishness about the fleeting nature of fame. Whether this change of tone was intentional remains moot, since the script underwent no major renovation. It seems largely the result of the change in cast, with the various roles filled by performers with different strengths – and possibly of directorial nuance. It's a shame this movie stays in obscurity, overshadowed by its forerunner; while neither version achieves the status of Laura, Vicki is by a small margin the more interesting of the two recensions.


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