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 ****
134 Reviews
"Everyone Has A Price"
stryker-54 January 1999
In this excellent Twentieth-Century Fox film-noir, the metropolis is a labyrinth of despair in which scavengers and predators survive by living off one another. Brooding cityscapes lower over puny humanity in bleak expressionist symbolism.
A prostitute has her purse snatched on the subway. It contains a microfilm, and a communist spy ring will go to any lengths to recover it. Two parallel investigations unfold as both spies and cops hunt down the precious information.
Anti-hero pickpocket Skip McCoy is played with scornful assurance by Richard Widmark. He knows the cops to be his moral equals and intellectual inferiors, so he taunts them: "Go on," he says to captain Dan Tiger (Murvyn Vye), "drum up a charge. Throw me in. You've done it before." In this pitiless world, the cops are just one more gang on the streets. Just as Candy the hooker bribes Lightning Louie to get a lead, so the police are busy paying stool pigeons for information.
It is hard to believe that when Widmark made this film he was already in early middle age. The 39-year-old star, coming to the end of his contract with Fox, plays the upstart Skip McCoy with the irreverent brashness of a teenager. Today it may not be acceptable for the romantic lead to punch his love interest into unconsciousness then revive her by sloshing beer in her face, but by the mores of the period it signified toughness - and Candy, after all, is a fallen woman.
Jean Peters is radiant as Candy. Here, right in the middle of her five-year burst of B-movie fame, she is beautiful and engaging as the whore with the golden heart. She is the story's victim, a martyr to her beauty as much as anything else. She means well, but is constantly being manipulated by cynical men - Joey, Skip and the cops.
The real star of this movie is New York. Haunting urban panoramas and snidering subway stations offer a claustrophobic evocation of the city as a living, malevolent force. Like maggots in a rotting cheese, human figures scurry through the city's byways. Elevators, subway turnstiles, sidewalks - even a dumb waiter act as conduits for the flow of corrupt humanity. People cling to any niche that affords safety: Moe has her grimy rented room, Skip his tenebrous shack on the Hudson River. As the characters move and interact, they are framed by bridge architecture, or lattices of girders, or are divided by hanging winch tackle. The personality of the city is constantly imposing itself. The angles and crossbeams of the wharf timbers are an echo of the gridiron street plan, and the card-index cabinets in the squadroom mimic the Manhattan skyline. When Joey's exit from the subway is barred, it is as if the steel sinews of the city are ensnaring him.
A surprising proportion of this film is shot in extreme close-up. Character drives the plot, as it should, and the close-ups are used to augment character. When Skip interrogates Candy, the close-up captures the sexual energy between them, belying the hostility of Skip's words. Jean Peters' beauty is painted in light, in exquisite soft focus close-ups. The device is also employed to heighten the tension. The opening sequence, the purse snatch, contains no dialogue: the drama relies entirely on close-up for its powerful effect.
Snoopers, and snoopers upon snoopers, populate the film. Moe (Thelma Ritter) makes a living as an informant, and her place in the hierarchy is accepted, even by her victims. When Skip observes, "she's gotta eat", he is chanting a recurring refrain. Just as 'straight' New Yorkers peddle lamb chops or lumber, the Underworld traffics in the commodity of information.
And yet even the stool pigeons are superior to Joey and his communist friends. Joey's feet on Moe's bed symbolise a transgression of the most basic moral code. Joey is beyond the pale. Moe will not trade with Joey, even to preserve her life: " ... even in our crummy business, you gotta draw the line somewhere."
"Pick-Up" was made in the depths of the Cold War. Richard Nixon had just been chosen as the Republican vice-presidential candidate, having made his name with his phoney Alger Hiss expose - bogus communist microfilm and all. The McCarthy show trials were a daily reality. We see the cops in the movie inveigh against "the traitors who gave Stalin the A-bomb".
New York can be seen as a giant receptacle in which human offal cheats, squeals and murders. Containers form a leitmotif throughout the film. Moe carries her trade mark box of ties, and candy's purse, container of the microfilm, is the engine of the plot. Skip keeps his only possessions in a submerged crate, symbolising his secretive street-wisdom. The paupers' coffins, moving down the Hudson on a barge, are containers of just one more cargo being shifted around the pitiless metropolis.
The film is a masterpiece of composition. Candy is shown above the skulking Skip on the rickety gangway of the shack, signifying her moral ascendancy. When the gun is placed on the table, the extreme perspective makes it look bigger than Candy - violence is beginning to dwarf compassion. The lovers are eclipsed by the shadow of a stevedore's hook, reminding us that their love is neither pure nor absolute, but contingent upon the whims of the sinister city. Enyard the communist is a shadow on a wall, or a disembodied puff of cigarette smoke. He is like the lone alley cat amongst the garbage - a predatory phantom of the night. Camera shots from under taxi hoods, inside newspaper kiosks and through the bars of hospital beds constantly reinforce in us the awareness that we are all trapped in the metropolis. We are civilisation's mulch.
A prostitute has her purse snatched on the subway. It contains a microfilm, and a communist spy ring will go to any lengths to recover it. Two parallel investigations unfold as both spies and cops hunt down the precious information.
Anti-hero pickpocket Skip McCoy is played with scornful assurance by Richard Widmark. He knows the cops to be his moral equals and intellectual inferiors, so he taunts them: "Go on," he says to captain Dan Tiger (Murvyn Vye), "drum up a charge. Throw me in. You've done it before." In this pitiless world, the cops are just one more gang on the streets. Just as Candy the hooker bribes Lightning Louie to get a lead, so the police are busy paying stool pigeons for information.
It is hard to believe that when Widmark made this film he was already in early middle age. The 39-year-old star, coming to the end of his contract with Fox, plays the upstart Skip McCoy with the irreverent brashness of a teenager. Today it may not be acceptable for the romantic lead to punch his love interest into unconsciousness then revive her by sloshing beer in her face, but by the mores of the period it signified toughness - and Candy, after all, is a fallen woman.
Jean Peters is radiant as Candy. Here, right in the middle of her five-year burst of B-movie fame, she is beautiful and engaging as the whore with the golden heart. She is the story's victim, a martyr to her beauty as much as anything else. She means well, but is constantly being manipulated by cynical men - Joey, Skip and the cops.
The real star of this movie is New York. Haunting urban panoramas and snidering subway stations offer a claustrophobic evocation of the city as a living, malevolent force. Like maggots in a rotting cheese, human figures scurry through the city's byways. Elevators, subway turnstiles, sidewalks - even a dumb waiter act as conduits for the flow of corrupt humanity. People cling to any niche that affords safety: Moe has her grimy rented room, Skip his tenebrous shack on the Hudson River. As the characters move and interact, they are framed by bridge architecture, or lattices of girders, or are divided by hanging winch tackle. The personality of the city is constantly imposing itself. The angles and crossbeams of the wharf timbers are an echo of the gridiron street plan, and the card-index cabinets in the squadroom mimic the Manhattan skyline. When Joey's exit from the subway is barred, it is as if the steel sinews of the city are ensnaring him.
A surprising proportion of this film is shot in extreme close-up. Character drives the plot, as it should, and the close-ups are used to augment character. When Skip interrogates Candy, the close-up captures the sexual energy between them, belying the hostility of Skip's words. Jean Peters' beauty is painted in light, in exquisite soft focus close-ups. The device is also employed to heighten the tension. The opening sequence, the purse snatch, contains no dialogue: the drama relies entirely on close-up for its powerful effect.
Snoopers, and snoopers upon snoopers, populate the film. Moe (Thelma Ritter) makes a living as an informant, and her place in the hierarchy is accepted, even by her victims. When Skip observes, "she's gotta eat", he is chanting a recurring refrain. Just as 'straight' New Yorkers peddle lamb chops or lumber, the Underworld traffics in the commodity of information.
And yet even the stool pigeons are superior to Joey and his communist friends. Joey's feet on Moe's bed symbolise a transgression of the most basic moral code. Joey is beyond the pale. Moe will not trade with Joey, even to preserve her life: " ... even in our crummy business, you gotta draw the line somewhere."
"Pick-Up" was made in the depths of the Cold War. Richard Nixon had just been chosen as the Republican vice-presidential candidate, having made his name with his phoney Alger Hiss expose - bogus communist microfilm and all. The McCarthy show trials were a daily reality. We see the cops in the movie inveigh against "the traitors who gave Stalin the A-bomb".
New York can be seen as a giant receptacle in which human offal cheats, squeals and murders. Containers form a leitmotif throughout the film. Moe carries her trade mark box of ties, and candy's purse, container of the microfilm, is the engine of the plot. Skip keeps his only possessions in a submerged crate, symbolising his secretive street-wisdom. The paupers' coffins, moving down the Hudson on a barge, are containers of just one more cargo being shifted around the pitiless metropolis.
The film is a masterpiece of composition. Candy is shown above the skulking Skip on the rickety gangway of the shack, signifying her moral ascendancy. When the gun is placed on the table, the extreme perspective makes it look bigger than Candy - violence is beginning to dwarf compassion. The lovers are eclipsed by the shadow of a stevedore's hook, reminding us that their love is neither pure nor absolute, but contingent upon the whims of the sinister city. Enyard the communist is a shadow on a wall, or a disembodied puff of cigarette smoke. He is like the lone alley cat amongst the garbage - a predatory phantom of the night. Camera shots from under taxi hoods, inside newspaper kiosks and through the bars of hospital beds constantly reinforce in us the awareness that we are all trapped in the metropolis. We are civilisation's mulch.
Terrific film-noir political thriller
perfectbond11 April 2003
I really enjoyed this film. All aspects of the film were top notch including the most important, for me anyway, the screenplay and the acting. This is definitely one of Richard Widmark's strongest roles. He is totally convincing in his performance. Just out of curiosity, imagine how Humphrey Bogart or Robert Mitchum might have tackled this role. This is my first exposure to Jean Peter's work that I can remember. She impressed so much here that I will definitely be on the lookout for her other work. Thelma Ritter, in an unglamourous role, deserved the Oscar nomination she received for playing the informant. This film works on every level. The black and white photography is perfectly appropriate and the story hooks the viewer right from the beginning. Widmark and Peters have great chemistry in their difficult romance. Strongly recommended, 9/10.
Brilliant from alarm bell to chopsticks
Rebecca Rohan18 July 2001
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.
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.
Maybe Fuller's best film
zetes13 August 2002
The best of the seven Sam Fuller movies that I've seen (including Park Row, Run of the Arrow, Verboten!, Shock Corridor, The Naked Kiss, The Big Red One, and this film), Pickup on South Street counts as one of the best film noirs. It represents Fuller at his most controlled. I like him when he's out of control, of course, but nearly everything in Pickup is perfect. The film is absolutely beautiful. Richard Widmark stars as a pickpocket who steals some microfilm that was meant to go to communist spies. Jean Peters plays the woman who was carrying the film for her boyfriend, played by Richard Kiley. Peters is forced to find Widmark and get it back. She finds him through a stool pigeon played by Thelma Ritter. Widmark and Peters are attracted to each other, which changes Peters loyalties (that, and the fact that she learns she's working for communists; the Cold War stuff is really interesting). The love story is done a little quickly and not entirely believable, but it's not so bad that it harms the film (unlike Fuller's previous film, Park Row). Richard Widmark is great. This must be one of his best roles, but I'm not so familiar with his career that I can say that for sure. Thelma Ritter gives the most memorable performance. Her role gives the film an unexpected emotional resonance, and her final scene in this film is as touching as any you will find in the cinema. I will never forget that. 10/10.
Skip Boosts Muffin, Zaps Reds!!!
rmax30482319 February 2003
Warning: Spoilers
SPOILERS. Sam Fuller, as someone pointed out, was usually a better interview subject than a director. What a life he led. There's an early photo of him as a newspaperman, feet on his desk, hat tilted back on his head, smoking a cigarette -- straight out of "The Front Page." Then, column two: the U.S. Army's First Division, the Big Red One, and World War II with experiences that he could never forget. For years afterward he could not hear a car backfire, or a knock on a door, without jumping out of his chair. Column three: movie director.
The French adored him. His style was called "primitive" by some, and in fact it was down to earth and unsophisticated, rather like an article in, well, not the New York Times but maybe the New York Daily News. Or the Post. Well, not the Post. All of his movies moved fast, the way Fuller himself spoke. Everything seemed to tumble over itself trying to get on screen with little time left for contemplation.
I haven't seen all of his movies, but I believe he produced two unusually good ones: "Merrill's Marauders" and "Pick Up on South Street." Too many of the others come out like comic books. This one ha several excellent things going for it. First, a fine cast. Richard Widmark as Skip McCoy, the cannon, is good in a way that combines his insouciant charm and the brutality he showed in his early work. Jean Peters too is convincing in the tarty part of Candy. (Great name.) She's more animated here than in any other of her films. (In "Apache," I believe you could add up all of her lines AND her expressions on the fingers of one hand.) Fuller got a good performance out of her here. "What's the matter, Joey? You're talking' like it's HOT." She wears very heavy makeup. Her black eyelashes are the size of window awnings, even when she's bundled up in a hospital bed. She even trounces around in a sluttish way. Richard Kiley is an actor I've always admired. He's quite handsome in a blandly dark and sensitive-looking way, and his range was considerable: a villain here, a humanist there, a narrator of poetry on PBS. And then there is Thelma Ritter, who is sui generis, at the top of her form as the cynical wisecracking urbanite, perhaps more subdued here, and given a more complex part. She didn't make that many movies but she was a beacon in each one.
The plot? Let me see. Widmark, the expert pickpocket, boosts a roll of film from the innocent Jean Peters' pocketbook. Neither of them know it, but the film is a MacGuffin containing some kind of secret microfilm to be passed on to the Commies. Widmark's response when he learns this, as the cops try to pressure him into cooperating: a smile of disbelief and, "You wavin' the flag at ME?" (He's great.) Most of the movie is concerned with Kiley's attempts to retrieve the film before his bosses off him, and before the cops find out what's going on. People routinely betray one another, then forgive. They also casually brutalize one another. Jean Peters especially gets knocked around. First she's clipped on the jaw and is knocked out at her first meeting with Skip. (The movie follows the usual short-cuts: one bop and the recipient is out cold for as long as the plot requires.) The first thing Widmark does is grin widely and go through her purse, then he takes a swig of beer out of the bottle before pouring some on her face to wake her up. (As I said, all the conventions are followed because it just saves time.) But she really gets bashed by Joey, the Commie who is trying to squeeze some intel out of her. She is so vulnerable. Just out of the tub, still wet, wrapped in a white robe with a hood covering her hair. Fuller holds on the beating with a single shot and a shaky camera as the two of them reel around the room and Peters is bounced off walls and caromes into bookcases, and is finally shot and wounded. It's one of the few moments when the viewer is gripped, because the drama is not undercut by irony. The other scene involves Thelma Ritter. Jean Peters falls much too quickly for Widmark, though. You can't help noticing it because by their second meeting she is hopelessly devoted to him. It's all the more odd because Widmark can't seem to keep himself from belting her around and ridiculing her at every opportunity. Of course this sort of masculine behavior may appeal to some women. It's always worked for me. A couple of unprovoked clips on the jaw and they worship you.
How does Fuller handle all this? With aplomb. The production values don't shoot out the lights. The non-electrified shack that Widmark lives in could have been given some real atmosphere, but as it is it's nothing more than a perfunctory set, with a "Bait and Tackle" sign on the outside. What appears to be the Brooklyn Bridge can be glimpsed through the window (an obvious photo), which means that the owner of the shack used to sell fishing gear on the East River, from which nobody could pull anything but porgy with cholera sauce. Fuller ignores all this and zips through the movie headlong, the way a reporter might try to bang out an article under a deadline. Sometimes the approach works, and sometimes it doesn't. Here, it does. See it if you get the chance.
The French adored him. His style was called "primitive" by some, and in fact it was down to earth and unsophisticated, rather like an article in, well, not the New York Times but maybe the New York Daily News. Or the Post. Well, not the Post. All of his movies moved fast, the way Fuller himself spoke. Everything seemed to tumble over itself trying to get on screen with little time left for contemplation.
I haven't seen all of his movies, but I believe he produced two unusually good ones: "Merrill's Marauders" and "Pick Up on South Street." Too many of the others come out like comic books. This one ha several excellent things going for it. First, a fine cast. Richard Widmark as Skip McCoy, the cannon, is good in a way that combines his insouciant charm and the brutality he showed in his early work. Jean Peters too is convincing in the tarty part of Candy. (Great name.) She's more animated here than in any other of her films. (In "Apache," I believe you could add up all of her lines AND her expressions on the fingers of one hand.) Fuller got a good performance out of her here. "What's the matter, Joey? You're talking' like it's HOT." She wears very heavy makeup. Her black eyelashes are the size of window awnings, even when she's bundled up in a hospital bed. She even trounces around in a sluttish way. Richard Kiley is an actor I've always admired. He's quite handsome in a blandly dark and sensitive-looking way, and his range was considerable: a villain here, a humanist there, a narrator of poetry on PBS. And then there is Thelma Ritter, who is sui generis, at the top of her form as the cynical wisecracking urbanite, perhaps more subdued here, and given a more complex part. She didn't make that many movies but she was a beacon in each one.
The plot? Let me see. Widmark, the expert pickpocket, boosts a roll of film from the innocent Jean Peters' pocketbook. Neither of them know it, but the film is a MacGuffin containing some kind of secret microfilm to be passed on to the Commies. Widmark's response when he learns this, as the cops try to pressure him into cooperating: a smile of disbelief and, "You wavin' the flag at ME?" (He's great.) Most of the movie is concerned with Kiley's attempts to retrieve the film before his bosses off him, and before the cops find out what's going on. People routinely betray one another, then forgive. They also casually brutalize one another. Jean Peters especially gets knocked around. First she's clipped on the jaw and is knocked out at her first meeting with Skip. (The movie follows the usual short-cuts: one bop and the recipient is out cold for as long as the plot requires.) The first thing Widmark does is grin widely and go through her purse, then he takes a swig of beer out of the bottle before pouring some on her face to wake her up. (As I said, all the conventions are followed because it just saves time.) But she really gets bashed by Joey, the Commie who is trying to squeeze some intel out of her. She is so vulnerable. Just out of the tub, still wet, wrapped in a white robe with a hood covering her hair. Fuller holds on the beating with a single shot and a shaky camera as the two of them reel around the room and Peters is bounced off walls and caromes into bookcases, and is finally shot and wounded. It's one of the few moments when the viewer is gripped, because the drama is not undercut by irony. The other scene involves Thelma Ritter. Jean Peters falls much too quickly for Widmark, though. You can't help noticing it because by their second meeting she is hopelessly devoted to him. It's all the more odd because Widmark can't seem to keep himself from belting her around and ridiculing her at every opportunity. Of course this sort of masculine behavior may appeal to some women. It's always worked for me. A couple of unprovoked clips on the jaw and they worship you.
How does Fuller handle all this? With aplomb. The production values don't shoot out the lights. The non-electrified shack that Widmark lives in could have been given some real atmosphere, but as it is it's nothing more than a perfunctory set, with a "Bait and Tackle" sign on the outside. What appears to be the Brooklyn Bridge can be glimpsed through the window (an obvious photo), which means that the owner of the shack used to sell fishing gear on the East River, from which nobody could pull anything but porgy with cholera sauce. Fuller ignores all this and zips through the movie headlong, the way a reporter might try to bang out an article under a deadline. Sometimes the approach works, and sometimes it doesn't. Here, it does. See it if you get the chance.
Entertaining noir
gbill-7487725 July 2019
A pickpocket (Richard Widmark) steals a woman's wallet on the subway (Jean Peters), but unknown to both of them, it contains top secret American information that was going to be delivered to the Russians. A well connected woman in the underworld (Thelma Ritter) helps the police, the woman, and the pickpocket at various points along the way, but she draws the line at helping communists.
The strength of this film for me came in its cast. Widmark is great in his sneering defiance of the police, and in both seducing and dominating Peters when she seeks him out. Thelma Ritter is great as always, and the scene that starts with her playing Mam'selle on the phonograph next to her bed is excellent. Peters has several fine moments, and the one where she's abused by her handler (Richard Kiley) is intense. The film also moves along efficiently and briskly at 80 minutes, which I liked. Oh, and that shot in the dumb waiter that director (and writer) Sam Fuller gives us! Brilliant.
The weakness is in its implausible actions, most notably just how quickly Peters falls for Widmark, even though that scene where he strokes her face before kissing her is pretty steamy. Maybe it's just a little too brisk for its own good. The whole communist crew seem remarkably weak given the importance of the information. There are other things as well, starting from why she's on the subway to begin with and running all the way through to a ridiculous ending (no doubt in there because of the Production Code), but it gets a little tedious to pick a movie like this apart. You have to enjoy it for what it is, and it's pretty entertaining. Like a lot of noir films, there is a certain baseline level of misogyny though, in this case with Peters either being knocked around or kissed.
I didn't care for the communist scare aspect of the film, and how much this affected the characters (look, even crooks hate commies!), however, I have to give Fuller and studio exec Darryl F. Zanuck credit for standing up to J. Edgar Hoover when he tried to get changes made. I'm not sure this quite lives up to the reputation of being a classic, but watch it for the performances, and its atmosphere.
The strength of this film for me came in its cast. Widmark is great in his sneering defiance of the police, and in both seducing and dominating Peters when she seeks him out. Thelma Ritter is great as always, and the scene that starts with her playing Mam'selle on the phonograph next to her bed is excellent. Peters has several fine moments, and the one where she's abused by her handler (Richard Kiley) is intense. The film also moves along efficiently and briskly at 80 minutes, which I liked. Oh, and that shot in the dumb waiter that director (and writer) Sam Fuller gives us! Brilliant.
The weakness is in its implausible actions, most notably just how quickly Peters falls for Widmark, even though that scene where he strokes her face before kissing her is pretty steamy. Maybe it's just a little too brisk for its own good. The whole communist crew seem remarkably weak given the importance of the information. There are other things as well, starting from why she's on the subway to begin with and running all the way through to a ridiculous ending (no doubt in there because of the Production Code), but it gets a little tedious to pick a movie like this apart. You have to enjoy it for what it is, and it's pretty entertaining. Like a lot of noir films, there is a certain baseline level of misogyny though, in this case with Peters either being knocked around or kissed.
I didn't care for the communist scare aspect of the film, and how much this affected the characters (look, even crooks hate commies!), however, I have to give Fuller and studio exec Darryl F. Zanuck credit for standing up to J. Edgar Hoover when he tried to get changes made. I'm not sure this quite lives up to the reputation of being a classic, but watch it for the performances, and its atmosphere.
Tough and compelling
planktonrules2 January 2009
This is yet another gritty and compelling film directed by Sam Fuller in the early 1950s. This minimalist and fast-working director has something unusual for his earlier films--a cast with some stars. Richard Widmark, Jean Peters and Richard Kiley star in this film about a group of Communist agents who are trying to sneak secrets out of America--and they'll stop at nothing to succeed.
The film starts with Peters on a subway car being watched by federal agents. They know she is a link in a long espionage chain. Unknown to everyone is the wild card in the equation--a small-time pickpocket (Widmark) is also on the train and he manages to steal the secrets that Peters is carrying. Widmark thinks it's just another purse he's ransacked--only later does he realize the seriousness of what he's stolen. Now it's Widmark on his own--with Commies and the FBI hot on his trail.
Widmark and the rest are exceptional and the film is gripping from start to finish. Although she didn't get top billing, a special mention should be made of Thelma Ritter. This supporting actress had perhaps the performance of her lifetime as a stool pigeon. Seldom was she given this much of a chance to act and I was impressed by her ability to play a broken down and sad old lady.
As far as the script and directing go, they are very good--but with one small exception. At first, I loved the way Widmark and Peters interacted. It's one of the few times on film you'll see a woman punched square in the mouth! Now THAT'S tough. Later, inexplicably, they become amazingly close--too close to be believable. Still, with so much great drama and such an effective Noir-like film, this can be overlooked. See this film.
The film starts with Peters on a subway car being watched by federal agents. They know she is a link in a long espionage chain. Unknown to everyone is the wild card in the equation--a small-time pickpocket (Widmark) is also on the train and he manages to steal the secrets that Peters is carrying. Widmark thinks it's just another purse he's ransacked--only later does he realize the seriousness of what he's stolen. Now it's Widmark on his own--with Commies and the FBI hot on his trail.
Widmark and the rest are exceptional and the film is gripping from start to finish. Although she didn't get top billing, a special mention should be made of Thelma Ritter. This supporting actress had perhaps the performance of her lifetime as a stool pigeon. Seldom was she given this much of a chance to act and I was impressed by her ability to play a broken down and sad old lady.
As far as the script and directing go, they are very good--but with one small exception. At first, I loved the way Widmark and Peters interacted. It's one of the few times on film you'll see a woman punched square in the mouth! Now THAT'S tough. Later, inexplicably, they become amazingly close--too close to be believable. Still, with so much great drama and such an effective Noir-like film, this can be overlooked. See this film.
Pickup on South Street is clearly a product of its time period, but what it lacks in plot tension it makes up for in acting and tone setting
andrewroy-0431616 April 2020
Pickup on South Street in some ways feels like the polar opposite to the previous two films we've watched in class, Bicycle Thieves and Best Years of Our Lives. Both of those films were patient, character-driven stories where we grow to understand the challenges and lives of specific characters. Here, the film explicitly tells us that we are being thrown into the middle of a tangled web of events. Joey tells us (through Candy) early on that she owes him and that she is well-connected. It is clear that Joey's scheme with the film has been a long time in the works, though we don't know exactly what the scheme is until at least halfway through the movie. This is a film that is clearly a product of its time period, as the fear towards communists and intense patriotism of the time is readily apparent. The film is intentional in setting the atmosphere; from the opening scene in the subway, the bustle and chaos of New York feels like another character in the movie. I did feel like the dialogue and plot was much more misdirection than substance, and the lack of fully fleshed out characters contributed to it. We spend lots of time with Candy, but she didn't feel like a consistent character I could empathize with, because she is constantly oscillating between helpless and slyly playing Joey and Skip against each other. Skip was very interesting but could've been much more clearly characterized. I think the intention was to show him early on as a smooth operator pickpocket and later his willingness to put himself in danger to make things right and stop Joey show he's more than a selfish pickpocket, but we never get to understand his inner dialogue or emotions, so it's hard to relate to him either. The fast paced old school noir dialogue, especially with Tiger and Moe, was a lot of fun, and Moe was a great character. Ritter did a phenomenal job playing her, and her character was the only convincing balance between hustling and humanity. The big reveal that Joey is a communist could've hit harder had we known much about him, but as it was the plot felt like a straightforward crime movie that tried to throw a bunch of extraneous bits at you. I do find the choice to clearly put us into the middle of this plot rather than attempt to give us the full story from start to finish. I like the idea, but the way it was executed left me too removed from the characters. I like the way the city was used, the music in the film added tension and felt well ahead of its time, and the performances are good, but a fine plot and few convincing characters detracted for me.
This is quite the special little gem!
Boba_Fett11386 January 2010
Every now and then there gets released this movie no one has ever heard of and got shot in a very short time with very little money and resource but everybody goes crazy about and turns out to be a surprisingly great one. This also happened in the '50's with quite a few little movies, that not a lot of people have ever heard of. There are really some unknown great surprising little jewels from the '50's that are worth digging out. "Panic in the Streets" is another movie like that that springs to the mind. Both are movies that aren't really like the usual genre flicks from their time and are also made with limited resources.
I was really surprised at how much I ended up liking this movie. It was truly a movie that got better and better as it progressed. Like all 'old' movies it tends to begin sort of slow but once you get into the story and it's characters you're in for a real treat with this movie.
The movie has a really great story that involves espionage, though the movie doesn't start of like that. It begins as this typical crime-thriller with a touch of film-noir to it. But "Pickup on South Street" just isn't really a movie by the numbers so it starts to take its own directions pretty soon on. It ensures that the movie remains a surprising but above all also really refreshing one to watch.
I also really liked the characters within this movie. None of them are really good guys and they all of their flaws and weaknesses. Really humane. It also especially features a great performance from Thelma Ritter, who even received a well deserved Oscar nomination for. It has really got to be one of the greatest female roles I have ever seen.
Even despite its somewhat obvious low budget this is simply one great, original, special little movie that deserves to be seen by more!
10/10
http://bobafett1138.blogspot.com/
I was really surprised at how much I ended up liking this movie. It was truly a movie that got better and better as it progressed. Like all 'old' movies it tends to begin sort of slow but once you get into the story and it's characters you're in for a real treat with this movie.
The movie has a really great story that involves espionage, though the movie doesn't start of like that. It begins as this typical crime-thriller with a touch of film-noir to it. But "Pickup on South Street" just isn't really a movie by the numbers so it starts to take its own directions pretty soon on. It ensures that the movie remains a surprising but above all also really refreshing one to watch.
I also really liked the characters within this movie. None of them are really good guys and they all of their flaws and weaknesses. Really humane. It also especially features a great performance from Thelma Ritter, who even received a well deserved Oscar nomination for. It has really got to be one of the greatest female roles I have ever seen.
Even despite its somewhat obvious low budget this is simply one great, original, special little movie that deserves to be seen by more!
10/10
http://bobafett1138.blogspot.com/
Espionage: The Difference between a Pickpocket and a Traitor
romanorum110 March 2015
At film's beginning we see a NY subway so crowded that the neurosis of claustrophobia oppresses us. Folks keep piling on, but no one disembarks. A pickpocket (we soon learn is Skip McCoy = Richard Widmark), a three-time loser, skillfully removes a woman's wallet from her purse. The pickpocket is seen by FBI agent Zara (Willis B. Bouchery), but McCoy nevertheless gets away. It seems that the woman, Candy (Jean Peters), was being tailed by Zara all along. Her wallet contains a valuable microfilm (describing a chemical formula) wanted by the Communists. Candy was passing it on to her sleazy boyfriend Joey (Richard Kiley), a Communist sympathizer. Candy does not know final destination of the microfilm. McCoy knows nothing about the microfilm; he just wants to make a quick buck.
Zara consults with Captain Dan Tiger (Murvyn Vye), who in turn relies on Moe Williams (Thelma Ritter), a street peddler who sells ties. Moe is a police paid informer who has a price for keeping keeps tabs on underworld figures in the neighborhood. She lives in a shabby tenement, but is saving enough cash for a fancy funeral. She tells Capt. Tiger, "I've got almost enough to buy both the stone and the plot." With new information the lawmen go to McCoy's bare-bones waterfront shack without electricity (but note how he stores stuff) on the East River. One of cops is Detective Winoki, played by Milburn Stone, later to star as Doc Adams in the very long-running and successful TV series, "Gunsmoke." The cops demand the microfilm. As Skip balks, he is summarily taken down to the precinct. Tiger tells McCoy, "If you refuse to co-operate, you will be just as guilty as the traitors who gave Stalin the A-bomb!" McCoy boldly retorts, "Are you waving the flag at me?" Candy eventually helps the authorities, and even Moe hinders the bad Commies. Likewise, McCoy changes his tune, but for a reason different than that of the feds. There is a climax involving a terrific fist fight between two antagonists on the subway tracks.
Richard Widmark as the cocky hood is good as always. The line of the movie is delivered by Thelma Ritter, in a marvelous performance as Moe. "If I was to be buried in Potter's Field, it'd just about kill me." Ritter lost out to Donna Reed ("From Here to Eternity") for the Oscar as Best Supporting Actress. Joe MacDonald shoots this one in tight close-up, especially the wallet snatch. Watch how Lightning Louie (Vic Perry) gobbles his noodles from the bowl close to his mouth and how he fetches Candy's $20 bills. The contiguous shot effect (often without extraneous dialog) brings out the tension sustained by each character: note the furrows, the sweat, and the quivering lips. See how well MacDonald captures the overcrowded subway, the shots of New York City, Moe's tenement, the bait shop along the waterfront. Cigar-smoking director Sam Fuller has at least three films elected to the American National Film Registry, "Shock Corridor," "The Big Red One" (the nickname for the 1st infantry division where he served in World War II) and "VE + 1." The latter is a short about the liberation of Falkenau concentration camp.
Zara consults with Captain Dan Tiger (Murvyn Vye), who in turn relies on Moe Williams (Thelma Ritter), a street peddler who sells ties. Moe is a police paid informer who has a price for keeping keeps tabs on underworld figures in the neighborhood. She lives in a shabby tenement, but is saving enough cash for a fancy funeral. She tells Capt. Tiger, "I've got almost enough to buy both the stone and the plot." With new information the lawmen go to McCoy's bare-bones waterfront shack without electricity (but note how he stores stuff) on the East River. One of cops is Detective Winoki, played by Milburn Stone, later to star as Doc Adams in the very long-running and successful TV series, "Gunsmoke." The cops demand the microfilm. As Skip balks, he is summarily taken down to the precinct. Tiger tells McCoy, "If you refuse to co-operate, you will be just as guilty as the traitors who gave Stalin the A-bomb!" McCoy boldly retorts, "Are you waving the flag at me?" Candy eventually helps the authorities, and even Moe hinders the bad Commies. Likewise, McCoy changes his tune, but for a reason different than that of the feds. There is a climax involving a terrific fist fight between two antagonists on the subway tracks.
Richard Widmark as the cocky hood is good as always. The line of the movie is delivered by Thelma Ritter, in a marvelous performance as Moe. "If I was to be buried in Potter's Field, it'd just about kill me." Ritter lost out to Donna Reed ("From Here to Eternity") for the Oscar as Best Supporting Actress. Joe MacDonald shoots this one in tight close-up, especially the wallet snatch. Watch how Lightning Louie (Vic Perry) gobbles his noodles from the bowl close to his mouth and how he fetches Candy's $20 bills. The contiguous shot effect (often without extraneous dialog) brings out the tension sustained by each character: note the furrows, the sweat, and the quivering lips. See how well MacDonald captures the overcrowded subway, the shots of New York City, Moe's tenement, the bait shop along the waterfront. Cigar-smoking director Sam Fuller has at least three films elected to the American National Film Registry, "Shock Corridor," "The Big Red One" (the nickname for the 1st infantry division where he served in World War II) and "VE + 1." The latter is a short about the liberation of Falkenau concentration camp.
Thelma Ritter kicks butt in Pickup on South Street
banse21 June 2001
Directed by Samuel Fuller, who also wrote the screenplay, Pickup on South Street is a tough, brutal, well made film about a pickpocket (Richard Widmark) who inadvertently aquires top-secret microfilm and becomes a target for espionage agents. Also involved are Jean Peters as a tough broad who is used as a courier by her evil ex-lover Richard Kiley. It's film-noir at its best and although the performances are very good its grand character actress Thelma Ritter who steals the movie. As Moe a weary street peddler selling neck ties (and who also sells information) she is terrific in a role that brought her another Oscar nomination. Its amazing that Miss Ritter was nominated six times for an Academy Award and she never won. This should have been the role that copped it for her!
Good, But Not Worth The Price
ccthemovieman-112 March 2006
The only thing about this film that bums me out is that the DVD is so expensive. It's too much for my budget at the moment, or I would purchase it, because the film is a good example of film noir...and I enjoy watching Richard Widmark, Jean Peters and Thelma Ritter.
Criterion produces great DVDs but sometimes the asking price is just a bit much. That's the case here for an 80-minute black-and-white, mono sound film that is good but nothing extraordinary, cinematography-wise.
The story is the story here (as opposed to visuals, actors, sound, sets, etc.) as a pickpocket (Widmark) inadvertently winds up with espionage microfilm in his possession after pilfering Peters' purse. (say that three times!). Everyone but Peters is a believable character in this movie: Widmark, the cops, the U.S. agents and the Communists and, especially Ritter as "Moe," an informant. She and Widmark are the stars of this film.
Peters does a decent job of playing the cheap floozy but loses her credibility early on by "falling in love" with Widmark on the first meeting even though he's nasty to her. Only in world of film!! Too bad, because that ludicrous romance part of the story takes away from it.
This an average film noir which means good, but not great and certainly not worth owning at a price of $25-$35. For that price, one could do a lot better in the film noir market.
Criterion produces great DVDs but sometimes the asking price is just a bit much. That's the case here for an 80-minute black-and-white, mono sound film that is good but nothing extraordinary, cinematography-wise.
The story is the story here (as opposed to visuals, actors, sound, sets, etc.) as a pickpocket (Widmark) inadvertently winds up with espionage microfilm in his possession after pilfering Peters' purse. (say that three times!). Everyone but Peters is a believable character in this movie: Widmark, the cops, the U.S. agents and the Communists and, especially Ritter as "Moe," an informant. She and Widmark are the stars of this film.
Peters does a decent job of playing the cheap floozy but loses her credibility early on by "falling in love" with Widmark on the first meeting even though he's nasty to her. Only in world of film!! Too bad, because that ludicrous romance part of the story takes away from it.
This an average film noir which means good, but not great and certainly not worth owning at a price of $25-$35. For that price, one could do a lot better in the film noir market.
Heavy Handed
lenadimopoulos26 May 2021
Forget the communist fervour and delve further.
hitchcockthelegend9 November 2008
Skip McCoy is a three time loser pick pocket, unable to curb his instincts back on the street, he picks the purse of Candy on a subway train. What he doesn't realise is that Candy is carrying top secret microfilm, microfilm that is of high interest to many many organisations.
Director Samuel Fuller has crafted an exceptional drama set amongst the seedy underworld of New York City. Communist spies and shady government operatives all blend together to make Pickup On South Street a riveting viewing from first minute to the last. Based around a Dwight Taylor story called "Blaze Of Glory", Fuller infused this adaptation with a heavy set political agenda, something that many at the time felt was over done, but to only focus on the anti communist leanings is doing it a big disservice.
Digging a little deeper and you find characters as intriguing as any that Fuller has directed. The main protagonist for one is the hero of the piece, a crook and a shallow human being, his heroics are not born out of love for his country, they are born out of his sheer stubborn streak. It's quite an achievement that Fuller has crafted one of the best anti heroes of the 1950s, and I'm sure he was most grateful to the performance of Richard Widmark as McCoy. Widmark is all grin and icy cold heart, his interplay with the wonderful Jean Peters as Candy is excellent and is the film's heart. However, it is the Oscar nominated Thelma Ritter who takes the acting honours, her Moe is strong and as seedy as the surrounding characters, but there is a tired warmth to her that Ritter conveys majestically.
It's a "B" movie in texture but an "A" film in execution, Pickup On South Street is a real classy and entertaining film that is one of the best from its most intriguing director. 9/10
Director Samuel Fuller has crafted an exceptional drama set amongst the seedy underworld of New York City. Communist spies and shady government operatives all blend together to make Pickup On South Street a riveting viewing from first minute to the last. Based around a Dwight Taylor story called "Blaze Of Glory", Fuller infused this adaptation with a heavy set political agenda, something that many at the time felt was over done, but to only focus on the anti communist leanings is doing it a big disservice.
Digging a little deeper and you find characters as intriguing as any that Fuller has directed. The main protagonist for one is the hero of the piece, a crook and a shallow human being, his heroics are not born out of love for his country, they are born out of his sheer stubborn streak. It's quite an achievement that Fuller has crafted one of the best anti heroes of the 1950s, and I'm sure he was most grateful to the performance of Richard Widmark as McCoy. Widmark is all grin and icy cold heart, his interplay with the wonderful Jean Peters as Candy is excellent and is the film's heart. However, it is the Oscar nominated Thelma Ritter who takes the acting honours, her Moe is strong and as seedy as the surrounding characters, but there is a tired warmth to her that Ritter conveys majestically.
It's a "B" movie in texture but an "A" film in execution, Pickup On South Street is a real classy and entertaining film that is one of the best from its most intriguing director. 9/10
Film Noir at it's FINEST! Yippee!!
DJAkin22 January 2002
I watched this last night on TV (HBO). I have to admit, that the tension in this movie was unsurpassed by most other FN era movies. I loved the way Chip would be all calm one moment and then VIOLENT the very next moment. It was classic. Ahh yes. The dames, the villians, the cigars and thuggish cops! It has it all. This movie delivered all the goods to me. I especially loved the way they mixed communism into the plot, very common for this era of movie. Very daring also since blacklisting was popular in those days. I rate this movie one of the best I have seen in the FN genre!
Gritty Noir from Fuller
Michael_Elliott30 May 2010
Pickup on South Street (1953)
*** 1/2 (out of 4)
Three time loser Skip McCoy (Richard Widmark) picks the pocket of a woman (Jean Peters) and ends up with some film that contains information meant for some Communist. McCoy must try to avoid not only the police but the bad guys who are willing to stop at nothing to get the information back in their hands. This is an extremely well-made, intelligent and very gritty little gem that manages to contain some nice suspense, great performances and some excellent direction. The opening sequence as we get to see many of the principle characters for the first time is handles extremely well and really sets up the entire pacing and style that's going to follow. The showing of the pickpocket was handled very well and Widmark's coolness is certainly on display even though he doesn't say a single word. Fuller's great direction is also highlighted during this sequence as we really get a terrific atmosphere with the crowded subway and this feeling is something running through the entire film. You can also feel the seedy nature of the streets and especially everything around Widmark's house by the river. As for Widmark, he's terrific here and really manages to be charming, cool and collective. He certainly has no trouble getting into this role as it's clearly a character he was born to play. Most importantly is Widmark is smart enough to carry on everything that's happening in the film and this is a major plus in making us believe what we're seeing. Peters never gets enough credit but she too is excellent here and really sinks her teeth into the tough and loyal character. Richard Kiley turns in wonderful support as her nervous ex-husband and Murvyn Vye is terrific as the Captain. Thelma Ritter steals the film each time she's on-screen as the professional informant who will sell just about anything except for one thing. Fuller has remained somewhat of a legend due to his gritty films and this one here is certainly one of his best. It's certainly got enough action, drama and all around suspense for two movies and the excellent performances are just icing on the cake.
*** 1/2 (out of 4)
Three time loser Skip McCoy (Richard Widmark) picks the pocket of a woman (Jean Peters) and ends up with some film that contains information meant for some Communist. McCoy must try to avoid not only the police but the bad guys who are willing to stop at nothing to get the information back in their hands. This is an extremely well-made, intelligent and very gritty little gem that manages to contain some nice suspense, great performances and some excellent direction. The opening sequence as we get to see many of the principle characters for the first time is handles extremely well and really sets up the entire pacing and style that's going to follow. The showing of the pickpocket was handled very well and Widmark's coolness is certainly on display even though he doesn't say a single word. Fuller's great direction is also highlighted during this sequence as we really get a terrific atmosphere with the crowded subway and this feeling is something running through the entire film. You can also feel the seedy nature of the streets and especially everything around Widmark's house by the river. As for Widmark, he's terrific here and really manages to be charming, cool and collective. He certainly has no trouble getting into this role as it's clearly a character he was born to play. Most importantly is Widmark is smart enough to carry on everything that's happening in the film and this is a major plus in making us believe what we're seeing. Peters never gets enough credit but she too is excellent here and really sinks her teeth into the tough and loyal character. Richard Kiley turns in wonderful support as her nervous ex-husband and Murvyn Vye is terrific as the Captain. Thelma Ritter steals the film each time she's on-screen as the professional informant who will sell just about anything except for one thing. Fuller has remained somewhat of a legend due to his gritty films and this one here is certainly one of his best. It's certainly got enough action, drama and all around suspense for two movies and the excellent performances are just icing on the cake.
Secrets In The Subway
seymourblack-118 April 2009
Warning: Spoilers
"Pickup On South Street" is a high speed drama about a small time criminal who suddenly finds himself embroiled in the activities of a group of communists. The action is presented in a very direct and dynamic style and the momentum is kept up by means of some brilliant editing. The use of a wide variety of different camera angles and effective close-ups also contribute to the overall impression of constant motion and vitality. Samuel Fuller's style of directing and the cinematography by Joseph MacDonald are excellent and there are many scenes which through their composition and lighting produce a strong sense of mood and atmosphere.
Ace pickpocket and repeat offender Skip McCoy (Richard Widmark) gets into deep water when he steals a wallet from a young woman named Candy (Jean Peters) on the New York subway. She was being used by her ex-boyfriend Joey (Richard Kiley) to make a delivery to one of his contacts in a communist organisation and unknown to her, she was carrying US Government secrets recorded on microfilm. Two FBI agents had been following Candy and witnessed the theft. One of the agents continues to tail her back to Joey's apartment and the other, Zara (Willis Bouchey), visits Police Captain Dan Tiger (Murvyn Vye). Zara explains that the FBI has been following Candy for some months as part of their pursuit of the ringleader of a communist group.
In order to identify the pickpocket, Tiger calls in a "stoolie" called Moe (Thelma Ritter) who after being given a precise description of the "cannon's" method of working makes a list of eight possible suspects. Once Tiger sees Skip's name on the list he's immediately convinced that he's the man that they need to track down and he sends two detectives to arrest him. When Skip is brought into Tiger's office, Zara tells him about the microfilm and Tiger offers to drop any charges if he'll co-operate with the investigation. Skip is flippant and arrogant. He clearly doesn't trust Tiger and denies all knowledge of the theft on the subway.
Joey orders Candy to find out who stole the microfilm and then retrieve it. Candy pays Moe for Skip's address and when Skip returns from being questioned by Tiger, he finds Candy searching his home and knocks her unconscious before stealing her money. When she recovers, Skip demands payment of $25,000 for the microfilm. She tells Joey about Skip's demand and Joey's boss gives him a gun and orders him to recover the microfilm by the following evening.
Skip and Candy are attracted to each other and it's because of their uneasy, developing relationship that a means evolves by which they are able to shake off the attentions of the police. It soon becomes apparent, however, that resolving matters with the communist gang will only be achieved by more direct action.
The depictions of Skip, Candy and Moe as characters that inhabit a seedy world in which they are forced to face considerable risks on a daily basis are powerful and compelling.
Moe's work as a police informer is dependent on her knowledge of the people in her community but also those people know what she does and any one of them could seek their revenge at any time. She appears to be cunning and streetwise but also has her vulnerable side as she describes herself as "an old clock running down" and saves money to be able to have a decent burial in an exclusive cemetery in Long Island. Her belief that "every buck has a meaning of its own" leads her to sell any information regardless of danger, friendships or principles and yet there is one occasion where she refuses and this proves fatal. Thelma Ritter's performance certainly merited the Oscar nomination she earned for her role.
Skip is a violent criminal with no concern for his victims and having already been convicted three times in the past, lives under the constant threat of being jailed for life if convicted again. Despite this, he still continues with his criminal activities and strangely, is merely philosophical when Moe betrays his whereabouts and then later, he even ensures that Moe receives the type of burial she valued so highly. Candy is an ex-hooker and someone whose activities constantly put her in peril but behind her hardened exterior a warmer side gradually becomes more evident. Widmark and Peters are both perfect for their roles and like Ritter portray the different facets of their personalities with great style and conviction.
Ace pickpocket and repeat offender Skip McCoy (Richard Widmark) gets into deep water when he steals a wallet from a young woman named Candy (Jean Peters) on the New York subway. She was being used by her ex-boyfriend Joey (Richard Kiley) to make a delivery to one of his contacts in a communist organisation and unknown to her, she was carrying US Government secrets recorded on microfilm. Two FBI agents had been following Candy and witnessed the theft. One of the agents continues to tail her back to Joey's apartment and the other, Zara (Willis Bouchey), visits Police Captain Dan Tiger (Murvyn Vye). Zara explains that the FBI has been following Candy for some months as part of their pursuit of the ringleader of a communist group.
In order to identify the pickpocket, Tiger calls in a "stoolie" called Moe (Thelma Ritter) who after being given a precise description of the "cannon's" method of working makes a list of eight possible suspects. Once Tiger sees Skip's name on the list he's immediately convinced that he's the man that they need to track down and he sends two detectives to arrest him. When Skip is brought into Tiger's office, Zara tells him about the microfilm and Tiger offers to drop any charges if he'll co-operate with the investigation. Skip is flippant and arrogant. He clearly doesn't trust Tiger and denies all knowledge of the theft on the subway.
Joey orders Candy to find out who stole the microfilm and then retrieve it. Candy pays Moe for Skip's address and when Skip returns from being questioned by Tiger, he finds Candy searching his home and knocks her unconscious before stealing her money. When she recovers, Skip demands payment of $25,000 for the microfilm. She tells Joey about Skip's demand and Joey's boss gives him a gun and orders him to recover the microfilm by the following evening.
Skip and Candy are attracted to each other and it's because of their uneasy, developing relationship that a means evolves by which they are able to shake off the attentions of the police. It soon becomes apparent, however, that resolving matters with the communist gang will only be achieved by more direct action.
The depictions of Skip, Candy and Moe as characters that inhabit a seedy world in which they are forced to face considerable risks on a daily basis are powerful and compelling.
Moe's work as a police informer is dependent on her knowledge of the people in her community but also those people know what she does and any one of them could seek their revenge at any time. She appears to be cunning and streetwise but also has her vulnerable side as she describes herself as "an old clock running down" and saves money to be able to have a decent burial in an exclusive cemetery in Long Island. Her belief that "every buck has a meaning of its own" leads her to sell any information regardless of danger, friendships or principles and yet there is one occasion where she refuses and this proves fatal. Thelma Ritter's performance certainly merited the Oscar nomination she earned for her role.
Skip is a violent criminal with no concern for his victims and having already been convicted three times in the past, lives under the constant threat of being jailed for life if convicted again. Despite this, he still continues with his criminal activities and strangely, is merely philosophical when Moe betrays his whereabouts and then later, he even ensures that Moe receives the type of burial she valued so highly. Candy is an ex-hooker and someone whose activities constantly put her in peril but behind her hardened exterior a warmer side gradually becomes more evident. Widmark and Peters are both perfect for their roles and like Ritter portray the different facets of their personalities with great style and conviction.
On the uncompromising side of the street
TheLittleSongbird6 December 2019
Really liked the concept for 'Pickup on South Street', and have had a long-term fascination and love for film noir. Of which there are many classic ones too numerous to list right now, naming them too may be unfair too perhaps. The cast showed a lot of promise, Richard Widmark could do very little wrong in my eyes and was in a role that suited him to a tee and Thelma Ritter's knack for scene stealing was always a delight regardless of genre and story.
'Pickup on South Street' is not a masterpiece and there are many far better film noirs out there. That is in no way knocking the film, because 'Pickup on South Street' still manages to be very interesting and with the right amount of entertainment and grit. As well as being very well made and acted. If there was more subtlety and if one relationship was handled more realistically, it would have been an even better film than it was.
Do agree that the romance is far too rushed, with it having very little time to develop from feeling the complete opposite to begin with and then it happens just like that by not too realistic means.
The film has been criticised many times too for laying it on too thick with the quite unforgiving politics. That is very understandable and will agree with the criticism, as it is handled with very little subtlety with it being persistently referred to and some of it was not necessary (some might find it "dated" as well).
However, 'Pickup on South Street's' photography is rich in style and atmosphere, the eerie grit of the lighting too adding hugely to the suspense. Fuller's direction is well judged and gives the film plenty of momentum while with breathing space too. The music is slinky at times and haunting in others. The script is not perfect, but is mostly very smart and tautly written.
Similarly the story is always compelling, the gritty atmosphere beautifully handled and the suspense biting the nails when appropriate. Was surprised at how it pulled no punches and the uncompromising nature wasn't taken too far, the climax being the biggest example of this. The best thing about 'Pickup on South Street' is the acting, while Widmark is a menacing presence, Jean Peters charming and Murvyn Vye suitably caustic it is Ritter that makes the biggest impression. Her character is the most interesting and likeable and she is quite touching in it.
Overall, very good. 8/10
'Pickup on South Street' is not a masterpiece and there are many far better film noirs out there. That is in no way knocking the film, because 'Pickup on South Street' still manages to be very interesting and with the right amount of entertainment and grit. As well as being very well made and acted. If there was more subtlety and if one relationship was handled more realistically, it would have been an even better film than it was.
Do agree that the romance is far too rushed, with it having very little time to develop from feeling the complete opposite to begin with and then it happens just like that by not too realistic means.
The film has been criticised many times too for laying it on too thick with the quite unforgiving politics. That is very understandable and will agree with the criticism, as it is handled with very little subtlety with it being persistently referred to and some of it was not necessary (some might find it "dated" as well).
However, 'Pickup on South Street's' photography is rich in style and atmosphere, the eerie grit of the lighting too adding hugely to the suspense. Fuller's direction is well judged and gives the film plenty of momentum while with breathing space too. The music is slinky at times and haunting in others. The script is not perfect, but is mostly very smart and tautly written.
Similarly the story is always compelling, the gritty atmosphere beautifully handled and the suspense biting the nails when appropriate. Was surprised at how it pulled no punches and the uncompromising nature wasn't taken too far, the climax being the biggest example of this. The best thing about 'Pickup on South Street' is the acting, while Widmark is a menacing presence, Jean Peters charming and Murvyn Vye suitably caustic it is Ritter that makes the biggest impression. Her character is the most interesting and likeable and she is quite touching in it.
Overall, very good. 8/10
a 1950s film noir still worth watching
dromasca8 March 2021
Made in 1953, director Samuel Fuller's 'Pickup on South Street' is considered one of the best classic films of the 'film noir' genre. Built around a story (also written by Fuller) that is not among the most original or surprising, the film manages to win the attention of viewers through some remarkable acting creations, the professionalism and expressiveness of cinema, and the realism with which it recreates the atmosphere of New York the first half of the 1950s. Viewed from the perspective of the 68 years that have passed since its making, 'Pickup on South Street' has moments in which it looks surprisingly modern, even if the dialogues and the structure of the story undoubtedly belong to another century.
There are no good guys in this movie. If we were to pick some, though, they would be the police and FBI agents following a group of communist drug traffickers. However, they look boring and incompetent enough to leave no lasting impression. The lead characters, on the other hand, each have their own vices and problems with the law. Skip McCoy ( Richard Widmark) is a pickpocket who has three convictions in his criminal record, and if he collects the fourth he is liable to life imprisonment. That doesn't stop him from continuing to 'operate' and in the scene that opens the film we see him in the subway stealing a wallet from the purse of the gorgeous Candy (Jean Peters). What Skip doesn't know is that she is a (unknowingly) courier for a gang of Soviet spies and that in the stolen wallet she was carrying a microfilm with the chemical formula of a drug that can wreak havoc. The police and the FBI are on the trail of Candy and soon of Skip, the Soviet agents are also capable of anything to retrieve their information, and soon the plot will get complicated, kind of a stalking game that puts their lives in danger.
Samuel Fuller had a career as a screenwriter and director for over half a century that included many ups and downs, as well as experimentation and controversy. 'Pickup on South Street' is perhaps the best known of his 'mainstream' films and contains enough elements of good cinematography that demonstrate an excellent mastery of the profession of filmmaker. The scenes on the subway or on the streets of New York are authentic and finished down to the last detail. Skip's house on the river bank with its unstable bridge and the city in the background combines aesthetics with a feeling of danger and fragility. Most of the key scenes take place at night, in the good tradition of 'noir' movies. Richard Widmark, who plays the lead role with charm and aplomb, shows us why he was a rising star at the time. Jean Peters, who is his partner, was a formidable and very beautiful actress, who unfortunately had a too short career. Two years after making this film, she met the eccentric billionaire Howard Hughes and married him, giving up her acting career. A life story similar to that of Grace Kelly, except for the tragic and early death. An excellent supporting role is played by Thelma Ritter who plays an informant who helps the police but also the bad guys to identify Skip by his pickpocketing technique. The story itself is not that credible, but there are plenty of other reasons why this American 'film-noir' of the '50s deserves a viewing or reviewing nowadays.
There are no good guys in this movie. If we were to pick some, though, they would be the police and FBI agents following a group of communist drug traffickers. However, they look boring and incompetent enough to leave no lasting impression. The lead characters, on the other hand, each have their own vices and problems with the law. Skip McCoy ( Richard Widmark) is a pickpocket who has three convictions in his criminal record, and if he collects the fourth he is liable to life imprisonment. That doesn't stop him from continuing to 'operate' and in the scene that opens the film we see him in the subway stealing a wallet from the purse of the gorgeous Candy (Jean Peters). What Skip doesn't know is that she is a (unknowingly) courier for a gang of Soviet spies and that in the stolen wallet she was carrying a microfilm with the chemical formula of a drug that can wreak havoc. The police and the FBI are on the trail of Candy and soon of Skip, the Soviet agents are also capable of anything to retrieve their information, and soon the plot will get complicated, kind of a stalking game that puts their lives in danger.
Samuel Fuller had a career as a screenwriter and director for over half a century that included many ups and downs, as well as experimentation and controversy. 'Pickup on South Street' is perhaps the best known of his 'mainstream' films and contains enough elements of good cinematography that demonstrate an excellent mastery of the profession of filmmaker. The scenes on the subway or on the streets of New York are authentic and finished down to the last detail. Skip's house on the river bank with its unstable bridge and the city in the background combines aesthetics with a feeling of danger and fragility. Most of the key scenes take place at night, in the good tradition of 'noir' movies. Richard Widmark, who plays the lead role with charm and aplomb, shows us why he was a rising star at the time. Jean Peters, who is his partner, was a formidable and very beautiful actress, who unfortunately had a too short career. Two years after making this film, she met the eccentric billionaire Howard Hughes and married him, giving up her acting career. A life story similar to that of Grace Kelly, except for the tragic and early death. An excellent supporting role is played by Thelma Ritter who plays an informant who helps the police but also the bad guys to identify Skip by his pickpocketing technique. The story itself is not that credible, but there are plenty of other reasons why this American 'film-noir' of the '50s deserves a viewing or reviewing nowadays.
"How many times you been caught with your hand where it doesn't belong?"
classicsoncall1 September 2012
Warning: Spoilers
If there's a picture that epitomizes the noir genre, this one has to be one of the top contenders. It's got everything you need - seedy atmosphere, a stunning femme fatale, good guys, bad guys and ones you can't tell until they get into a jam, and Thelma Ritter as the icing on the cake with a street smart credibility that puts even the cops to shame. Throw in a Commie angle and you have a fairly stunning potboiler here, courtesy of Richard Widmark, Jean Peters, Richard Kiley and the aforementioned Ms. Ritter.
Virtually every reviewer on this board goes into a description of the main plot, so I don't think it's necessary to go there. I'd just want to mention a couple of scenes that managed to blow me completely away. How about Skip McCoy (Widmark) belting the unsuspecting Candy (Peters) square in the jaw and putting her lights out? Followed up by that beer chaser. I believe that's what they used to call hardboiled back in the day. Then there's Moe Williams (Ritter) never giving an inch when Joey makes it known it's curtains. Classic. But the wildest was when Joey shoved Candy into the lamp and she bounced off into the bookcase. That looked a little too real to me and I had to wonder how they managed to pull that off.
The film's not entirely perfect, like other viewers I found the romantic angle to come on too quickly and lack a semblance of credibility. As hustlers and con artists, it didn't make sense to me that McCoy and Candy would have been immediately attracted to each other romantically. In other ways, no doubt about it. But take the good with the bad and this is a pretty taut film that's a must for your noir library. You'll also marvel at a time when you could get a 'handsome men's suit' for only $14.50, a bargain that doesn't come along every day.
Virtually every reviewer on this board goes into a description of the main plot, so I don't think it's necessary to go there. I'd just want to mention a couple of scenes that managed to blow me completely away. How about Skip McCoy (Widmark) belting the unsuspecting Candy (Peters) square in the jaw and putting her lights out? Followed up by that beer chaser. I believe that's what they used to call hardboiled back in the day. Then there's Moe Williams (Ritter) never giving an inch when Joey makes it known it's curtains. Classic. But the wildest was when Joey shoved Candy into the lamp and she bounced off into the bookcase. That looked a little too real to me and I had to wonder how they managed to pull that off.
The film's not entirely perfect, like other viewers I found the romantic angle to come on too quickly and lack a semblance of credibility. As hustlers and con artists, it didn't make sense to me that McCoy and Candy would have been immediately attracted to each other romantically. In other ways, no doubt about it. But take the good with the bad and this is a pretty taut film that's a must for your noir library. You'll also marvel at a time when you could get a 'handsome men's suit' for only $14.50, a bargain that doesn't come along every day.
Film Noir Meets Cold War
gavin69427 December 2015
A pickpocket (Richard Widmark) unwittingly lifts a message destined for enemy agents and becomes a target for a Communist spy ring.
In August 1952, the script was deemed unacceptable by the Production Code, by reasons of "excessive brutality and sadistic beatings, of both men and women." The committee also expressed disdain for the vicious beating of the character "Candy", on the part of "Joey." Apparently we had slid backwards in the 1950s, as such things would have been fine a decade earlier.
The French release of the movie removed any reference to spies and microfilm in the translation. They called the movie "Le Port de la Drogue" (Carrying Drugs). The managers of 20th Century Fox thought that the theme of communist spies was too controversial in a country where the Communist Party was an influential and legitimate part of public life. This is fascinating.
The whole concept is clever because it blends film noir and spy thriller. The two do not seem to overlap, but in this world they go together just fine. I prefer noir over spies, and I think that was executed well.
In August 1952, the script was deemed unacceptable by the Production Code, by reasons of "excessive brutality and sadistic beatings, of both men and women." The committee also expressed disdain for the vicious beating of the character "Candy", on the part of "Joey." Apparently we had slid backwards in the 1950s, as such things would have been fine a decade earlier.
The French release of the movie removed any reference to spies and microfilm in the translation. They called the movie "Le Port de la Drogue" (Carrying Drugs). The managers of 20th Century Fox thought that the theme of communist spies was too controversial in a country where the Communist Party was an influential and legitimate part of public life. This is fascinating.
The whole concept is clever because it blends film noir and spy thriller. The two do not seem to overlap, but in this world they go together just fine. I prefer noir over spies, and I think that was executed well.
Are you wavin' the flag at me?
ArtVandelayImporterExporter27 June 2019
Richard Widmark delivers this wry line to take the hot air out of the FBI man trying to appeal to Widmark's patriotism. Widmark picked a purse full of microfilm but is more interested in the payoff than stopping godless commies.
The FBI agent is nominally the ''good guy protecting America," like you'd see in any number of Cold War Era shorts, but is actually a bit of a bumbling bloviator who couldn't solve a crossword puzzle. ''I told you there was a difference between a pickpocket and a patriot," he tells the local cop late in the film. Har har. Doofus. Writer/director Fuller is laughing at you. No wonder the cross-dressing civil-liberties-hating head of the FBI, J. Edgar Hoover, went ballistic when he saw this film.
The guy who gets over is Widmark. First he slugs a broad. Then he caresses her face in a loving embrace. Take that, Hays Office prudes! Then he tosses her aside and names his price. What a performance. His lines are funnier than most comedies from the 50s.
The more I see of Widmark the more I love this guy. He could do it all. I'm waiting to stumble on to a movie where he tap dances and sings.
Jean Peters is a complete natural. It's too bad she married billionaire nutjob Howard Hughes and retired from acting. She is completely free of the stilted mannerisms and speech patterns you usually see from dames in this era.
As for Thelma Ritter, yah, I could see why she was nominated for an Oscar. I would have paid good coin to see this woman live on stage. She's riveting.
Throw in some interesting camera work and a conclusion that fits the story and you have a genuine, bona fide hidden gem.
Thank goodness for TCM, Eddie Muller and Noir Alley.
Dense and sharp but far too contrived.
Sergeant_Tibbs10 July 2013
Samuel Fuller is one of those directors who's rough around the edges but always has a great drive to the story, even if it can sometimes lack a certain satisfying point. Here, in his film-noir, Pickup On South Street, it's a sharp, small scale and dense film, drenched in the noir atmosphere but with an even darker smirk than the classic Bogart noirs. It's highlight is the great network of characters, each very developed and dimensional, with suitably radiant performances, especially from the deservedly Oscar nominated Thelma Ritter. Each character has their flaws and qualities in equal measure and it's a joy to watch them interact. However, it does abuse its MacGuffin (a Communist film strip) for political purposes rather than using it to scale the small story into something wider and contrivances, annoyances and lack of relatable characters as well as an anti-climax after plenty of potential for something sophisticated knock it down a notch. It's still a great film that's worth watching.
7/10
7/10
So full of holes and one dimensional characters it's tough to watch
hexrecords29 October 2019
Warning: Spoilers
I'm stunned by all the great reviews on here. Did we watch the same film?
The characters are so flat and boring. It's almost offensive how Candy so suddenly falls in love with Skip right after he punches her out (wtf?!). And like the government agents would actuallytell the bad guy exactly what they're after? Great now he knows he's got something super valuable so of course he isn't going to give it up (for less than 25k). And picking a gun out of someone's pocket and they don't notice? How much does a handgun weigh? Ridiculous.
The characters are so flat and boring. It's almost offensive how Candy so suddenly falls in love with Skip right after he punches her out (wtf?!). And like the government agents would actuallytell the bad guy exactly what they're after? Great now he knows he's got something super valuable so of course he isn't going to give it up (for less than 25k). And picking a gun out of someone's pocket and they don't notice? How much does a handgun weigh? Ridiculous.
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