Anjo do Mal

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.

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!

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

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.

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.