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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
The French title for the movie is "Le Port de la Drogue" ("The Drugs Port"). The film is clearly about espionage, but in the French version the title was changed to refer to drugs, and even the dialogue referring to the spying was completely replaced by dialogue about drug dealing. 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 »
Listen, Mister. When I come in here tonight, you seen an old clock runnin' down. I'm tired. I'm through. Happens to everybody sometime. It'll happen to you too, someday. With me it's a little bit of everything. Backaches and headaches. I can't sleep nights. It's so hard to get up in the morning, and get dressed and walk the streets. Climb the stairs. I go right on doin' it! Well, what am I gonna do, knock it? I have to go on makin' a livin'... so I can die. But even a fancy funeral ain't worth ...
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Grifters, B-girls, secret microfilm: great ingredients for film noir...
Director Samuel Fuller concocts a brilliant visual set-up to this gritty story: cocky pickpocket unwittingly lifts some microfilm from a woman's purse; it turns out she's a courier for the Communists, and now they are both being watched by the police. The noir formula in all its 1950s glory--before the ingredients became clichés--including waterfront locales, floozies, saxophones on the soundtrack, and one hell of a climactic fistfight. Performances by Richard Widmark and Jean Peters are right on target, and the smart, sharp script is quite colorful. Fabulous Thelma Ritter received an Oscar nomination for knockout supporting role as a "professional stoolie". Exciting, atmospheric, tough as nails. *** from ****
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