El rata

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.

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!

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.

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.

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 ****