I Wake Up Screaming

A very early version of a crime thriller that would "morph" over the ensuing 10 years into what is now commonly termed as "noir" type films. The story is fairly simple: a brash NYC promoter (played by Victure Mature) discovers an attractive young woman (Carole Landis) working in a diner. He bets his two urban sopisticate friends that he can make her a celebrity by getting her the right media exposure ( at the time it meant getting your picture and name in the newspaper society/gossip section). The woman, played by Carole Landis, is at first skeptical, but goes along with the plan and soon finds herself gaining cafe-society attention and endorsement work. Victor Mature's character and his two wager companions all have a "romantic" inetrest in the woman, so when she ends up murdered in the apartment she shares with her sister(Betty Grable), each of the three suitors come under suspicion as a possible culprit. The movie follows the attempts of a creepy police detective(Laird Cregar) as he relentlessly pursues and tries to prove the Victor Mature character as the murderer. While there are some "dark" tense moments, there are enough light touches and humor to keep an upbeat tone and lead the film to a happy ending.What makes the film especially interesting is the early use of stylized lighting and film angle techniques that would come to represent standard features of the "noir" films (plus some fairly complex flashback narration). Also notable is the casting of Betty Grable as one of the leads. Ms Grable came to Hollywood in 1929 at the age of thirteen, and started working in film musicals as a chorus girl( yes, you can see her at this early age in films like "Whoopee" from 1930). She moved on to Co-ed movies in the 1930's with modest success at a few different studios, but was out of work by 1939 when Twentieth-Century Fox gave her a contract with the intention of putting her into Ginger Rogers-type musicals. After a leading-role hit in the 1940 musical-comedy "Down Argentine Way", the studio cast her in this film to take advantage of her rising popularity. Although "I Wake Up Screaming" was a financial success, Ms. Grable would effectively refuse dramatic-type roles for the rest of her career at Twentieth-Century-Fox (She would eventually have a falling out with the studio in 1953 over these refusals). After this film, she would sing and dance her way through a string of musical comedies that would make her the top female box-office draw from 1942 -1951( belying the tag of "pin-up girl" that is applied to her nowadays).The pert, bubbly personality and girl next-door looks that made her perfect for musical/comedies is readily apparent from watching this movie.Fun film, with some added historical interest. A nice commentary in the bonus features

Calling all you Laird Cregar fans! If you like Laird, then do yourself a favor and watch this movie! It is a little-known film noir that really delivers. He is outstanding in it, as he was in all his movie roles over the years. You won't be sorry!

The movie, "I Wake Up Screaming", was very predictable and unbelieving as to whom the actual murderer was, but the movie had a great cast and was well done. I thought that all of the drama, and what action there was dealt with Victor Mature saying that he had nothing to do with the murder, and suddenly the murderer's identity comes to light. Good movie to see once, but not memorable or anywhere near the best.

An up-and-coming glamor girl/starlet, Vicki Lynn (Carole Landis), has been murdered. The sports promoter Frankie Christopher (Victor Mature) who had been pushing her into the spotlight is suspected of the killing, and as the film opens, he's being questioned under the bright spotlights of pre-Miranda law police interrogation. There's a soft, velvety but sinister voice belonging to a big guy, hidden behind the light. He's the head investigator. He's trouble for Frankie, who of course didn't do it - or so he claims. The camera tracks through the police department to another room, where Vicki's sister Jill (Betty Grable) is also being questioned. Between them, over 82 minutes, they fill in the story of Vicki's rise and untimely death in flashback form, even as they struggle in the presence to clear Frankie's name - meanwhile falling in love.The sinister velvet voice turns out to belong to Inspector Ed Cornell (Laird Cregar), a top cop who's never failed to solve a case, but who seems to take a delight in this one - and in particular, in hounding Frankie - out of proportion to his job. Cornell seems to show up everywhere in the present, and it turns out, in the past as well - he was paying attention to the sisters well before Vicki's death, for some reason that remains a mystery throughout the film. And then there are Frankie's friends, Robin (Allan Mowbray) and Larry (Allyn Joslyn) with whom he made a sort of Pygmalion-type bet when he decided to transform young uncultured waitress Vicki into a society girl - perhaps one of them knows something about the untimely demise of the starlet-to-be. And the clerk at Vicki and Jill's apartment building (Elisha Cook Jr) also seems to have a story - but will he reveal it, and will it be enough to save Frankie - if Frankie is innocent?I'm making this very early noir effort out to be perhaps a little more suspenseful than it really is. Truth to tell, it's actually full of comedy, a "light" affair that was probably toned down quite a bit from Steve Fisher's novel so as to make it palatable for the audience of Betty Grable fans. Though I wouldn't quite call it a "comedy" noir like HIS KIND OF WOMAN, it definitely doesn't have the tension that we usually associate with prime examples of the style. Often we'll get a tense sequence but it will be immediately followed by a moment of light humor - even slapstick - which brings us out of the shadows and dread. Still, as the always-excellent commentary by Eddie Muller makes clear, this was a very early noir - shot at exactly the same time as THE MALTESE FALCON which is of course far more heralded and influential; the building blocks are all there in the terrific lighting by Edward Cronjager, the snappy dialogue by Dwight Taylor, and Humberstone's gorgeous framing and gliding camerawork. Most of all, it's the cast that makes this work; Grable and Landis are both fine, both showing aspects beyond the pretty faces that they're seen as by the men in the film, but it's Mature and especially Cregar who really lift this into near-classic status. Mature has to be one of the most underrated actors of all time; like Robert Mitchum he was very self-deprecating and had a habit of looking like he wasn't acting - unlike Mitchum he really was rather insecure, and sometimes didn't give his all when he felt like he was just there to be "Victor Mature, shirtless guy". In his noir work though - this film and especially  Kiss of Death  - he really does show some depth, an easy-going manner when it's called for but also some real pathos and animation.Ultimately, though, good as he is in this film, he's upstaged by Cregar, who at 6'3" and about 300 pounds will probably remind most noir aficionados most of Orson Welles in TOUCH OF EVIL, or perhaps Raymond Burr. Cregar only lived a few more years after this film, dying from a heart attack after a too-quick crash diet for his last film, Hangover Square in 1944. He's got an incredible presence in this film, physically huge but emotionally tiny and wimpering, soft-voiced but menacing in intent. Like Mature he acts as much with his face, with his eyes and his forehead, as he does with his voice and his physique, but that hulking form combined with Cronjager's lighting assures that he dominates every scene, a Golem or Frankenstein figure always lurking about, waiting to crush the hopes of the protaganists for his own diabolical reasons.It's not one of my very favorites of the style, but certainly it's important and worth seeing as an early example, and Cregar's performance is just stunning. As I mentioned above, this one has Eddie Muller commentary, and Muller is the absolute top guy for this stuff, both thoroughly engaging and knowledgeable, and funny and conversational. Right off the bat he's talking about how lucky the young actor who plays a newsboy in an early scene was to sleep with (and marry) Gloria Grahame a few years later, and his commentary on how the repetition of two musical themes - "Over the Rainbow" and "Street Scene" work in the film was quite revealing. He also talks a fair bit about Steve Fisher, author of the novel and a man with almost a hundred film and TV credits as a writer or screenwriter, as successful in his day as Chandler or Hammett, but almost completely forgotten now. I'm tempted to give this release an extra star just for Muller - but heck, I can't rate ALL the Fox Film Noir stuff 5 stars. In any case, a must for noir aficionados.

EXCELLENT! I love "film noir" and this 1941 oldie but goldie is amongst the best! I liked every single minute of it and couldn't figure out the whole puzzle until the last moment. A recommended viewing. Below, more of my impressions, with some limited SPOILERS.PRECISION: this is a Region 1 NTSC DVD. It will NOT play on Region 2 PAL European equipment.Two young beautiful sisters soldier on through life in New York in early 40s: Vicky Lynn (Carole Landis) is a waitress and her sister Jill (Betty Grable) is a typist. One day a kind of slightly shady smooth operator named Frankie Christopher (Victor Mature), who is a promoter by profession, notices Vicky and bets with two of his friends, that he can quickly make her into a renowned model or maybe even more... Vicky trusts Christopher, but Jill is very suspicious about him and doesn't hide it... Then tragedy occurs and when the police shows the film really begins... I will not say anything more about the story.This film impressed me for many reasons. The scenario is strong. The mystery is well preserved but once we know the truth, the whole thing makes perfect sense. Dialogs are brilliant, witty and even if it is a dark movie, frequently funny. The "film noir" unique atmosphere is as dense as clouds on Venus. Characters are well designed, each having his own story to tell. And the story is simply great!This is a rather short film (82 minutes) but every single second was well used, without even a single one being wasted. Because of that the director was able to "pack" the things so well and so tightly, that you would never think that only 82 minutes passed! It is an impressive management of time!This film is also a very succesful mixture of many genres: "film noir" of course but also some romantic comedy and a more classical whodunit - and somehow it all works together perfectly!Actors did VERY well. Betty Grable doesn't sing or dance here as in most of her movies - but this being her, the director simply HAD TO arrange two scenes, in which she shows her legs...))) Victor Mature is equally excellent in a role very different from his later Biblical dramas... As for Carole Landis, she simply SHINES! But possibly the best performance is that of Laird Cregar, who plays a very menacing and very HUGE police detective, named Ed Cornell, a remarkably complex and interesting character.Another thing which I appreciated a lot is the use of "Over the rainbow" theme from "Wizard of Oz". I would never believe that you can use such a sweet song as the main theme for a very dark "film noir", but here it was used wonderfully! Kudos for the idea!I LOVED this film and it impressed me. I will absolutely keep the DVD for another viewing! ENJOY!

The title immediately catches the attention, then the film never lets up on the suspense during its’ 82 minute playing time. I Wake Up Screaming is a superb combination of dark shadows, low lighting, imaginative photography and expertly cut flashbacks creating an atmospheric backdrop to a series of top-line performances that never falter. It’s a masterwork, thanks to the photography (Edward Cronjager) and direction (Bruce Humberstone) that helped launch film noir.Briefly, fight promoter Frankie Christopher (Victor Mature) is under suspicion her murdering aspiring actress Vicky Lynn (Carole Landis), his protégé, while her wary sister Jill (Betty Grable) eventually comes around to believe in his innocence. But threatening police detective Ed Cornell (a genuine heavyweight performance from the much underrated Laird Cregar) is determined to prove Christopher’s guilt. In the meantime other suspects, including Allyn Joslyn, Alan Mowbray and the always nervous Elisha Cook Jr., come to light and the film packs a genuine twist ending.Beautifully restored, the DVD has a number of Special Features including soundtrack commentary by historian Eddie Muller, giving background information, and a 6 minute deletion scene, Betty Grable singing “Daddy” – a very wise decision to delete as it would jarred with the sombre, dark storyline. Just as enjoyable today as it was over 70 years ago.

First time watch ...Overall Enjoyed it.Betty was terrific in this.Victor was very good.Great noir mood and well shot.Wouldn't make my top 20 noirs ...But still solid if you've seen the big hitters.Excellent print.Didn't bother with the extras, has a commentary and some other bits.7/10 for me.

Between 2010 and 2014 I was in the final days of my alcoholism and to pass the time of those drink sodden days I would watch films like I Wake Up Screaming. Needless to say when el pisto I thoroughly enjoyed watching these type of films. Now sober I have to say I am unlikely to venture much further in to this film genre.What I can say about this flick is that the soundtrack is a constant annoyance and beggars belief. Betty Grable is a forties doll and is pleasing to look at as well as not being a bad performer. Victor Mature is not a bad actor either but the performance credit must go to Laird Cregar who's acting ability is second to none. If only this film was a tad more serious it would perhaps be more memorable.3/5

This is an excellent quality dvd (plays in english) of an excellent early film noir. Great acting from all the leads, especially Betty Grable and particularly Laird Cregar in a supporting role. Great script with some genuinely funny lines and plenty of menace. The look of the film is a paradigm of noir photography. Highly recommended.