VICKI (guess they thought changing "Vicky" to "Vicki" would look more modern or something) plays like a watered-down version of the original I WAKE UP SCREAMING (IWUS), though it tries real hard to remind you of another classic 20th Century-Fox thriller, 1944's LAURA. A LAURA-like painting of title character Vicki Lynn can be seen behind the opening credits. Listen carefully to the background dialogue during the scene where our protagonists hide in a movie theater (we don't see the film-within-the-film, we just hear it): the dialogue is from LAURA! To be fair, VICKI is watchable, but despite the filmmakers' best efforts to evoke superior Fox mysteries, it's ultimately pedestrian and forgettable, lacking the pizazz of its predecessors. Director Harry Horner, who was also the Oscar-winning art director and production designer of THE HUSTLER and THE HEIRESS (THE HUSTLER AND THE HEIRESS -- now that sounds like a fun picture! :-)), worked from Dwight Taylor's earlier IWUS script, this time given a little uncredited tweaking by Leo Townsend. Perhaps Townsend's the one responsible for the nice touch of having Vicki's face plastered all over almost every frame of the film, on posters, magazine covers, etc., even after her death, until the film's wry final shot.
However, while the actors are capable and easy on the eyes, the principals just don't have the edge, charisma, and screen presence of the original 1941 leads. In the title role, unlike IWUS's luminous Carole Landis, Howard Hughes protégée Jean Peters is just another pretty girl, albeit with ambition and a hard edge. Indeed, as Vicki's nice, sensible sister Jill, Jeanne Crain is more classically beautiful than Peters. If I were a promoter, Jill's the sister I would've been trying to groom for stardom! :-) But maybe that was the point: our promoter hero is trying to manufacture a star out of the raw material that is Vicki, like so many promoters and stars then and now. Film noir historian Foster Hirsch suggests this, too, in the DVD's interesting commentary track.
Speaking of our hero, instead of Victor Mature's beleaguered promoter hero Frankie Christopher, formerly Botticelli, VICKI gives us Elliott Reid as Steve Christopher (a tip of the hat to source author Steve Fisher?). Reid was a light leading man best known for comedy. That didn't necessarily have to be a liability, considering the story has comic moments, but alas, I'm afraid it is. I wanted to root for Reid, but he comes across as a lightweight in every way, pleasant without being memorable. Heck, I'm trying to picture him in my mind right now and I'm having a hard time, that's how little impression he made on me.
The sexual tension of IWUS is virtually nonexistent here. I've enjoyed the attractive Peters in more down-to-earth roles such as the 1953 thriller NIAGARA, but here I didn't find her irresistible in either physical or emotional allure. While you can't help but pick up on IWUS's Frankie, Larry, and Robin being drawn to Vicky, in VICKI, the lure somehow isn't as strong between Vicki and benefactors Steve; Robin, played here by suave Egyptian actor Alex D'Arcy; and Larry, played likably by one of our household's fave character actors, Casey Adams. Fun Facts: Under his real name, Max Showalter, Adams co-wrote VICKI's instrumental theme, and he'd also appeared with Peters in NIAGARA, in which Marilyn Monroe commanded the screen in an atypical bad-girl role. Crain and Reid come across like a nice-enough couple, but they simply don't have the sizzle and sparkle that Victor Mature and Betty Grable had between them in the original. At least Carl Betz of THE DONNA REED SHOW is a likable presence as Steve's cop pal.
Frankly, the antagonists are far more memorable than the protagonists. Richard Boone stands out most as obsessed cop Ed Cornell. True, Boone is no Laird Cregar; he's nowhere near as physically imposing or silver-tongued as Cregar was. Still, Boone's rough, harsh quality gives VICKI much-needed energy as he snarlingly invades people's space with wild abandon. Seeing vicious Boone zero in on bland Reid is like watching a feral dog attack a pampered puppy; it's not a fair fight, whereas IWUS's Mature and Cregar are more exciting to watch, being more evenly matched physically and temperamentally as well as in the charisma and screen presence departments. (Even Hirsch agrees in his commentary. Sharp guy, that Hirsch! :-)) Aaron Spelling's no slouch, either, as he takes over Elisha Cook Jr.'s role. Yes, you read that right: before he became one of the most successful TV producers of all time, Aaron Spelling was a quirky young actor, and he makes a great weirdo here. Occasionally, Spelling chews the scenery, but at least he's not insipid like most of the rest of the cast.
Even the film's lighting and staging is flat and bland, except for the expressionistic lighting of the interrogation and the night scenes. There aren't even any little fun quirks, like the use of "Over the Rainbow" in the original. My verdict: I WAKE UP SCREAMING is the clear winner here, with VICKI worth a look primarily for completists.
However, while the actors are capable and easy on the eyes, the principals just don't have the edge, charisma, and screen presence of the original 1941 leads. In the title role, unlike IWUS's luminous Carole Landis, Howard Hughes protégée Jean Peters is just another pretty girl, albeit with ambition and a hard edge. Indeed, as Vicki's nice, sensible sister Jill, Jeanne Crain is more classically beautiful than Peters. If I were a promoter, Jill's the sister I would've been trying to groom for stardom! :-) But maybe that was the point: our promoter hero is trying to manufacture a star out of the raw material that is Vicki, like so many promoters and stars then and now. Film noir historian Foster Hirsch suggests this, too, in the DVD's interesting commentary track.
Speaking of our hero, instead of Victor Mature's beleaguered promoter hero Frankie Christopher, formerly Botticelli, VICKI gives us Elliott Reid as Steve Christopher (a tip of the hat to source author Steve Fisher?). Reid was a light leading man best known for comedy. That didn't necessarily have to be a liability, considering the story has comic moments, but alas, I'm afraid it is. I wanted to root for Reid, but he comes across as a lightweight in every way, pleasant without being memorable. Heck, I'm trying to picture him in my mind right now and I'm having a hard time, that's how little impression he made on me.
The sexual tension of IWUS is virtually nonexistent here. I've enjoyed the attractive Peters in more down-to-earth roles such as the 1953 thriller NIAGARA, but here I didn't find her irresistible in either physical or emotional allure. While you can't help but pick up on IWUS's Frankie, Larry, and Robin being drawn to Vicky, in VICKI, the lure somehow isn't as strong between Vicki and benefactors Steve; Robin, played here by suave Egyptian actor Alex D'Arcy; and Larry, played likably by one of our household's fave character actors, Casey Adams. Fun Facts: Under his real name, Max Showalter, Adams co-wrote VICKI's instrumental theme, and he'd also appeared with Peters in NIAGARA, in which Marilyn Monroe commanded the screen in an atypical bad-girl role. Crain and Reid come across like a nice-enough couple, but they simply don't have the sizzle and sparkle that Victor Mature and Betty Grable had between them in the original. At least Carl Betz of THE DONNA REED SHOW is a likable presence as Steve's cop pal.
Frankly, the antagonists are far more memorable than the protagonists. Richard Boone stands out most as obsessed cop Ed Cornell. True, Boone is no Laird Cregar; he's nowhere near as physically imposing or silver-tongued as Cregar was. Still, Boone's rough, harsh quality gives VICKI much-needed energy as he snarlingly invades people's space with wild abandon. Seeing vicious Boone zero in on bland Reid is like watching a feral dog attack a pampered puppy; it's not a fair fight, whereas IWUS's Mature and Cregar are more exciting to watch, being more evenly matched physically and temperamentally as well as in the charisma and screen presence departments. (Even Hirsch agrees in his commentary. Sharp guy, that Hirsch! :-)) Aaron Spelling's no slouch, either, as he takes over Elisha Cook Jr.'s role. Yes, you read that right: before he became one of the most successful TV producers of all time, Aaron Spelling was a quirky young actor, and he makes a great weirdo here. Occasionally, Spelling chews the scenery, but at least he's not insipid like most of the rest of the cast.
Even the film's lighting and staging is flat and bland, except for the expressionistic lighting of the interrogation and the night scenes. There aren't even any little fun quirks, like the use of "Over the Rainbow" in the original. My verdict: I WAKE UP SCREAMING is the clear winner here, with VICKI worth a look primarily for completists.