While not always mentioned alongside films like *The Maltese Falcon*, *I Wake Up Screaming* deserves consideration within the birth of film noir. Both movies were produced around the same time, but *I Wake Up Screaming* feels more aligned with the core elements of the genre. This is largely due to its striking visual style—featuring low-angle shots, deep shadows, and closeups—and a complex plot further complicated by flashbacks. Though *The Maltese Falcon* has memorable scenes like Sydney Greenstreet’s imposing presence and Mary Astor's descent marked by bars, *I Wake Up Screaming* is consistently visually rich, making it one of the finest-looking noir films from that era. Director H. Bruce Humberstone and producer Milton Sperling didn’t follow a direct adaptation approach as John Huston did with Hammett’s novel for *The Maltese Falcon*. Instead, *I Wake Up Screaming* is based on a pulp novel by Steve Fisher, telling the story of a rising movie star’s mysterious death and the obsession surrounding both the crime and the beautiful victim. Due to budget constraints, the setting shifted from southern California to New York City, reducing the number of locations—most filmed on sets at Fox in Los Angeles with some exterior pickups. This limited scope unintentionally created a sense of claustrophobia within the film. However, the filmmakers maintained the hardboiled pulp origins of the story, evidenced by a glimpse of *Black Mask* magazine appearing onscreen. Speaking of which, *Black Mask* Magazine makes its sole appearance in a film noir. The publication was instrumental in shaping the genre, publishing works from authors like Hammett, Raymond Chandler, Cornell Woolrich, and Erle Stanley Gardner, under the guidance of editor Cap Joseph Shaw. Humberstone and Sperling, who had never previously made a noir film (and wouldn't again), inadvertently helped define the genre with this early effort, drawing inspiration directly from those pulp magazines—a remarkable feat considering 20th Century Fox was primarily known for lighter fare at the time. You might notice some elements that feel out of place given Fox’s usual output; a few lighthearted moments and an unnecessary pool scene featuring Betty Grable in swimwear and Victor Mature shirtless, for example. The soundtrack is also jarring, dominated by “Somewhere Over the Rainbow” and Alfred Newman's "Street Scene," which felt repetitive and distracting. Initially titled *Hot Spot*, the film’s name was changed back to *I Wake Up Screaming* just before release after cast members advocated for the original title—a wise decision, as it is an excellent title for a noir film. A deleted scene featuring Grable singing at a department store job further highlights elements that didn't belong in the final cut and are better suited as extras. Betty Grable, who hadn’t yet ascended to pinup stardom, delivers a commendable performance despite feeling somewhat out of place within the noir context. Victor Mature is solid, though he, like many leading men in noir films, is overshadowed by the villain: Laird Cregar. The actor steals every scene with his memorable portrayal—a fitting tribute, as Fisher reportedly named Cregar’s character after pulp writer Cornell Woolrich. Cregar's imposing physique, matched by Mature’s size, adds believability to their conflict. Carole Landis, who had previously worked with Mature, has a significant but ultimately forgettable role; her tragic fate in the film mirrors her own real-life struggles and death. The actresses share a striking resemblance. Familiar noir faces like Elisha Cook Jr., Charles Lane, William Gargan, and Iris Adrian also appear in supporting roles. While debates have arisen about *The Maltese Falcon*'s classification as noir, such discussions are difficult to have regarding *I Wake Up Screaming*. Despite occasional comedic moments and a peculiar soundtrack, it remains firmly within the film noir tradition.

Source on TMDB