
The film opens on a NYC subway car where Candy (Jean Peters) is carrying an envelope given to her by ex-boyfriend Joey (Richard Kiley). As a last favor to him she is to deliver the envelope to a man at a rendezvous point and she’ll be done with Joey once and for all. Candy is unaware that the contents inside the envelope (we later learn) are strips of microfilm consisting of classified U.S. government secrets that the Russians are dying to get their pinko paws around. Joey is working for the commies and looking for a big pay day with the delivery of the film. Candy is his unknowing buffer and potential fall-gal in case the deal goes sour. The U.S. government is


While the screenplay (written by Fuller from a story by Dwight Taylor) is rich in dialogue, narrative, and story, the cast elevates it to a plateau of excellence that few movies in film noir reach. Widmark is outstanding as the anti-hero and gives arguably his best performance from an impressive ‘cannon’ of work. Jean Peters gives a solid performance as the manipulated moll Candy. While she may not have the otherworldly chops of Widmark or Ritter, she sells the part well enough to keep up with her co-stars. Without a doubt though, Thelma Ritter is soul of this film. Her ability to convey the vulnerability, charm, and guile of a complex character like Moe is a feat I can picture no other actress accomplishing the way she did in “Pickup.” It’s a brilliant performance that belongs in the pantheon of film. Seriously.
Visually there is plenty to appreciate and enjoy with “Pickup on South Street” but Fuller’s use of the close-up is the visual element that resonates deepest with me. He judiciously uses the tight facial frame sparingly, but maximizes its effectiveness when he does. Each main character gets a notable close-up during points in the film where a significant aspect of their character is revealed and we get a better understanding of the people occupying Fuller’s world. During Thelma Ritter’s introductory scene in Captain Tiger’s office, the camera is kept at bay until Tiger asks Moe about the status of her “kitty” (her savings which is simply a big wad of cash). Moe has been saving up scratch from her legitimate business front of selling men’s neck-ties on the street and also her informant money so she can buy herself a top of the line funeral and all the trimmings. She tells Tiger that she’s almost has enough for the headstone and the exclusive plot on Long Island where you have to be screened before they “let you in there.” Tiger warns her that she better be careful about carrying around such a large wad of cash, especially with the ne’er-do-wells she associates with otherwise she’ll end up in Potter’s Field. Tiger’s words act as a vacuum to the feisty and energetic flame in Moe’s eyes. Her face drains only to be refilled quickly with a grave look of concern that comes over her as the camera gets to an intimate distance with her face. She confides to the police Captain, “Look Tiger, if I was to be buried in Potter’s field… It’d just about kill me.” There are several moments in the film like this where such a small aspect reveals so much about the different character’s desires, fears and motivations.
As if the fantastic story isn’t enough, “Pickup” has many complex and fascinating themes permeating the film. One I discovered on a recent viewing is the interesting dichotomy between reliance on the male dominated world in which Moe and Candy operate to survive and their struggle with maintaining independence and autonomy. Moe needs men to buy her neck-ties and Captain Tiger to help feed her kitty. Candy needs men to earn a living by being the “eye” type of her namesake. The viewer gleans that Candy floats from the arm of one guy to the next but it’s not something she’s particularly proud of. When his tail is on the line and he needs a lead as to who lifted the microfilm from her purse, Joey asks Candy, “You’ve knocked around a lot. You know people who know people.” Candy’s face tenses up and Fuller gives the audience another telling close-up as she snarls, “You gonna throw that in my face again?” Due to the nature of their professions Moe and Candy can’t afford to get too close to anybody, yet simultaneously they have a pragmatic need for connecting with people. But beneath these same necessary connections of survival stirs an emotional longing to unite with others on a human level. Unexpectedly and briefly, Candy and Moe seem to find this commonality with each other via Skip acting as an inadvertent catalyst. It’s an interesting dynamic and brief exploration of such between these two women, especially for the patriarchal and straight-laced era in which the film was made.
There are so many little touches to “Pickup on South Street” that help make it one of the finest film noirs I’ve ever seen. I love the way a streetwise character named Lightning Louie uses chopsticks in a Chinese restaurant to pocket cash on the table. I adore Moe as she’s working angles as an informer and simultaneously trying to sell her ties or as she calls them “a complete line of personality neck-ware.” I never tire of the scene where Moe deduces that Skip is the microfilm thief by the individual method in which he lifts Candy’s wallet because Moe knows each pickpocket’s methods are as distinct and unique as a fingerprint. I crack up over the way Skip keeps his beer cold in his unconventional hideout and offers a cop one by nearly hurling the bottle at him from across the room. I love it when Candy realizes her wallet has been lifted while she’s inside the lobby of a building and somewhere outside the sound of an alarm goes off. I love the existential acceptance shown by Skip when he realizes that Moe told Candy where he was hiding out and he embraces her being a stool-pigeon by quipping “Moe’s alright, she’s gotta eat.” These are just a few samples of many, many details and nuances in “Pickup” that make up an aggregate of mesmerizing and near flawless filmmaking. One viewing of “Pickup on South Street” is not enough to fully appreciate its genius, but one viewing will certainly whet the thirst of any true film-lover enough to continue going back and drink from this refreshing well, again and again.

Written by Tim (aka - Mappin and Webb Ltd.)
3 comments:
Sam Fuller pulls no pulp punches. Loved it when the commie's chin bounced all the way down the subway stairs. And the beer cooling in the East River...that's the high life. Nice finger job on the subway too.Only thing missing from the flick is Lloyd Nolan should've played the G-man. It don't figure why Sam got exiled to France. Bum steer. This pic is true blooded Americana, and so is Skip for smacking them lousy, no-good commies good and hard.
Hard-Boiled Dick
I have just discovered this site and am most impressed with the articulate well structured writing.I too really liked this noir(seen as part of the tcm oscars month) and tonight will finally see tommy udo in kiss of death, even though you didn't think much of the film itself.
i just need to see this widmark performance!
th again for all your hard work. Terrific!
How do you feel about the ties of betrayal and trust in relationship and institutions in this movie?
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