A woman suspected of murdering her doctor boyfriend has an identical twin sister. When both twins have an alibi for the night of the murder, a psychiatrist is called in to assist a ... See full summary »
Olivia de Havilland,
Yesterday Jim Molner was an ordinary guy. Today he's a desperate man, frantically trying to save himself and his family, held hostage by a demented terrorist who's demanding $500,000 not to... See full summary »
Sam Hurley, "Nation's No. 1 killer" with a cold contempt for "heroes," escapes prison with two companions and takes a mixed bag of hostages to Nevada ghost town Lost Hope City. He knows ... See full summary »
On a crowded subway, Skip McCoy picks the purse of Candy. Among his take, although he does not know it at the time, is a piece of top-secret microfilm that was being passed by Candy's consort, a Communist agent. Candy discovers the whereabouts of the film through Moe Williams, a police informer. She attempts to seduce McCoy to recover the film. She fails to get back the film and falls in love with him. The desperate agent exterminates Moe and savagely beats Candy. McCoy, now goaded into action, confronts the agent in a particularly brutal fight in a subway. Written by
Heard is the recurring background strains of "Again," a song introduced in "Road House," Richard Widmark's third picture. It ties Widmark to this film's musical director Lionel Newman, who composed the music for the former. Both movies are original properties of Twentieth Century - Fox. See more »
When Skip gets off a subway train at the 33rd street station, he is getting off of an IND line R-1 train. There is no 33rd street station on any IND line. The only 33rd street station is on the Lexington Ave Line(today known as the #6 train). The Lexington Ave line is a branch of the IRT line and did not use the R-1 cars. They used the Low V cars. An R-1 car was too wide and would not fit on to the IRT tracks See more »
What's the matter with you? Playing footsie with the Commies!
You waving the flag, too?
Listen, I knew you since you was a little kid. You was always a regular kind of crook. I never figured you for a louse.
Stop, you're breaking my heart.
Even in our crummy line of business you gotta draw the line somewhere.
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Pickup On South Street is one of the most brilliant movies ever made. An example of the directing: When Candy (Jean Peters) starts going through her purse and notices her wallet is missing, an alarm goes off in the background in the building she's in -- as if it's an alarm going off in her head. It's not cartoon-like -- it's subtly woven into the background in a way that strikes you on a subconscious level until you've seen the film a few times and it just "clicks" that there's an alarm bell going off when she starts frantically going through her bag.
Richard Widmark is way on top of his game as a smart-alec -- he's really great -- but the highlight performance of the film was the first scene for "Moe," the street peddler/informer, played by Thelma Ritter. Later, in her apartment, you are not seeing a movie -- you're seeing a real person. I've never seen anyone "act" so real I felt like I was looking into a real room until Ritter's performance -- right down to the way her hair stuck out a bit when she removed her hat.
About a million other things just *worked,* from the way Lightning Louie picks up money with his chopsticks to the way Candy's jewelry clicks when she flicks Moe's hand away from her brooch, to the way Moe gets the dollars and change from the police captain across the FBI guy's chest -- and even the way the captain opens his filing cabinet, like he's been doing it in that way in that room for many years. "Pickup On South Street" is detailed moves (directing) with consummate performances (acting) and superb now-nostalgic visuals of the day, such as the panel truck, the boards leading to the shack out on the water, the dumbwaiter, -- and the unforgettable place Skip stashes his pocket pickings. Wonderful stuff.
"Pickup On South Street" is also one of the few movies where, even though the characters aren't perfect, you do care about them -- perhaps because they have been somewhat branded by their pasts in ways that are hard to escape: Skip as a "three-time loser" and Candy as a youngish woman who has "knocked around" a lot. When these people behave a little more badly than you'd expect, it's in sort of novel ways that make it seem you're looking in at people you'd never otherwise imagine -- and yet you know that they are possible because the actors make them so recognizably human.
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