PICKUP ON SOUTH STREET is a good thriller. Morally problematic protagonists cause a greater amount of violence and explicit. The key word in this film is blackmail. The main "hero" is a professional pickpocket who during pick pocketing comes into possession of microfilm with state secrets, but who want to return to the US government and communist spies. The story shows how the Communists, with the help of former prostitutes, trying to persuade him to hand over the microfilm, but she falls in love with him, which leads to violent consequences. This movie is politicized and ideological to evoke anti-communist hysteria in American society '50s of the last century, and in which Mr. Fuller expressed sympathy for people with social margins, according to petty thieves, prostitutes and poor police informants.The story is pretty incoherent. At times it is confusing, although I must admit that the characterization is extremely strong. Richard Widmark as Skip McCoy is a sadistic pickpocket, who at one point slapping ransom demands, in another moment ransom demands with kisses. Finally, he takes the law into his own hands for the love and moral obligation. Jean Peters as Candy is a beautiful former prostitute who intends to "satisfy" all sides. This character is not a victim. I think she enjoys that an abuse if it will be subsequently rewarded with kisses. The violence against women is quite explicit, inappropriate and seasoned with cheap sex interruptions. Thelma Ritter as Moe informant who collects the money, to be buried in a decent place. The protagonist is a victim of madness in this movie. She understands and sympathizes.Why so much violence? The story has flaws. Is that the reason? Draw attention. This story is hard to believe. Tension and excitement are very well designed. Characterization is worthy of a noir. The story could have been much better without the coerced conflict between the American dream and Communism.

On a crowded New York City subway, petty pickpocket Richard Widmark (as Skip McCoy) sneaks his fingers into the purse of pretty part-time prostitute Jean Peters (as Candy). He thinks he's got Ms. Peters' wallet, but Mr. Widmark has unknowingly stolen some top-secret microfilm Peters was delivering to her pimp-like ex-boyfriend Richard Kiley (as Joey). The police employ street-wise peddler Thelma Ritter (as Moe Williams) to help find Widmark and the microfilm, before it falls into the hands of Communists plotting against the USA. Fresh out of prison, Widmark wants to stay ahead of the law while committing his crimes. He also notices Peters is pretty enough to kiss, albeit with roughness. With the fate of the entire free world hanging in the balance, various and sundry characters must retrieve the microfilm before it falls into Communist hands...Samuel Fuller's weird mix of Damon Runyon characters in a Mickey Spillane setting almost works – the weakest part is the "Red Scare" element, involving Communists plotting something presumably earth-shattering in New York City. Secondarily, the occasional cuteness of the characters, who seem to operate in a cozy circle in New York City, doesn't always jive with their violent outbursts. Nevertheless, the role played by Ms. Ritter – peddling ties instead of apples – comes across the screen exceptionally well. Ritter breathes great life into Mr. Fuller's nicely developed character. As the sweaty spy, Mr. Kiley also impresses. Widmark is reliable and Peters vulnerable – but their parts are less appealing. Murvyn Vye and the others seem real, despite being directed to randomly pull and leaf through suspects' photos. Joe MacDonald's photography is stylish.******* Pickup on South Street (5/29/53) Samuel Fuller ~ Richard Widmark, Jean Peters, Thelma Ritter, Richard Kiley

What is it about Thelma Ritter? She has enriched so many films and in almost every one becomes a sort of Greek Chorus; it's Bette Davis we watch in All About Eve, but it's Thelma that backgrounds the commentary--whether it's an acidic riposte to Eve's sad story of theatrical neglect or the plethora of furs on the bed--"looks like a dead animal act." Ritter was nominated many times for an Oscar, and should have won in this film for her worn-out informer who is "just doing her job" in this tightly-knit film noir.It's Jean Peters who is perhaps the titular star, surprisingly rich as a rather confused femme fatale who falls for Richard Widmark's hard-edged, nervous pickpocket, living on the water in a strange little coop where he keeps his treasures on a rope in the water. This is deservedly a noir classic, with all the hallmarks of the genre, and Sam Fuller's dynamic direction guiding his three main characters through a labyrinth of crime: each has a code that has very little to do with ethics of the FBI, but are oddly admirable in their sense of self.

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.