PICKUP ON SOUTH STREET
US, 1953, 100 minutes, Black-and-white.
Richard Widmark, Jean Peters, Thelma Ritter, Murvyn Vye, Richard Kiley.
Directed by Samuel Fuller.
Pickup on Self Street has a loyal following, many considering it one of Samuel Fuller’s best films, early in a career which was to last for the next 30 years or more, culminating in his autobiographical war film The Big Red One. During the 1950s he made quite a number of small-budget action films.
As a crime film, this is a story of a middle-aged pickpocket, Skip, Richard Widmark who can do evil characters particularly well, especially their offhand laugh and anti-authoritarian cackle. He is just out of jail, but with a strong reputation, always challenging the police, taunting them. The film opens with him stealing a wallet from Candy, Jean Peters, in the subway. While the film shows his denying everything to the police, Candy trying to track him down to retrieve her purse, scenes with a very interesting character, Moe, Thelma Ritter, an older lady who sells information because she knows everything about crime in New York, and she sells a range of ties as a cover, actually selling them. Thelma Ritter was nominated for a Best Supporting Actress award.
However, there is a complication, because in the purse was some microfilm which Candy was to deliver to Communist connections, something she was unaware of. It is her last job for her former boyfriend, Joey, Richard Kiley. The police have been watching her for her to deliver the microfilm, and follow Joey and nab the head of the cell.
There are various tough complications including Candy being bashed several times, Moe being killed by Joey, and some crises of emotions and conscience for Skip.
The film was released in 1953 at the time of the anti-Communist, stances in the United States, House Un-American? activities, Senator Joe McCarthy? and his interrogations and the Black List. The dialogue, written by Fuller himself, is staunchly anti-Communist.
1. A strong reputation for a crime thriller? The early work of Samuel Fuller and his tough films? Crime in the New York subway, police investigations, the atmosphere of nuclear espionage?
2. Location photography, New York City, apartments, homes above the water, police precincts, the subway and the stations? The musical score? The classic songs?
3. The atmosphere in American politics of the time, the very strong anti-Communist stances? The dialogue of this film filled with this anti-Communism?
4. Candy, on the train, crowded, Skip and his approach, Candy being watched, the men and the surveillance, Skip and his techniques, the newspaper, his fingers, taking her wallet? Getting out of the train, the surveillance men unable to get out? Candy, discovering the loss in her purse, her phone call to Joey? Her dilemma?
5. The situation, Candy and her background, tough, relationship with Joey, breaking it off, her being a courier? Not knowing what she was delivering? Her last job? Finding she was robbed, going back to Joey, his desperation?
6. The police, going to the lieutenant, getting the information about pickpockets, the photos?
7. Calling in Moe, a character, background, getting the money for her plot of land and her significant funeral instead of in Potters Field? Peddling information? Her betting on issues? Identifying Skip?
8. Moe, friendship with Skip, knowing him, his allowing her to give information? Candy coming to see her, getting the information about Skip? The later confrontation with Joey? Her going to the police, the Communist issue, issues of loyalty? Getting money out of Candy, selling her the tie – which meant that Skip knew that Candy had visited her?
9. Moe and her final reflection on her life, tired, having the coffee with Skip and ready to collapse, at home, lying down, Joey and the gun, talking about her life, ready to go, not giving him the information, her being shot? Skip and his tracking down her body, using his money to give her a proper funeral?
10. The espionage issue, diagrams, microfilm, stealing, deliveries? Communist cells?
11. Skip, out of prison, offhand attitude, taunting the police? The money, the discovery of the film, going to the library, eluding the man following him, examining the microfilm?
12. The police, wanting to do a deal with Skip, to drop the charges, but to get the microfilm? His denials?
13. Candy, coming to see him, the kiss, the effect on her? Trying to pay him off? Her searching his house – and his punching her? Her going to see Moe and her pleading? Going back to Joey, his threats? Her finding out the truth about communism? Giving Joey the false information, warning Skip, upset at Moe’s death, going to the police, excusing Skip and making him seem honest? The final confrontation with Joey, bashed, in hospital, Skip coming to see her?
14. Joey, the contacts, Skip and his pursuit, the chase and the subway, the fights?
15. Joey, the contacts, the timeline? The police, the ring broken up?
16. Tough action – and final romance?
