*** In The 1950s Crime Noir Night- If Your Mommie Is A Commie, Turn Her In- “Pick Up On South Street”- A Film Review
DVD Review
Pick Up South Street, starring Richard Widmark, Jean Peters, Richard Kiley, 20th Century-Fox, 1953
I have previously in this space seemingly beaten to death the idea that not all crime noirs are created equal. Here I am again giving a thumbs down to this one based on that elusive standard. And here's why. Most crime noirs , those that have good or bad femme fatales to muddy up the waters or not, have crime, the solving of crime, and the message that crime does not pay built into their plot lines. The film under review here, Pick Up On South Street, however tries to combine crime with a political message, a 1950s Cold War “red scare” political message-don’t mess with the reds or you’ll be dead. Courtesy of one J. Edgar Hoover, and about a million other unnamed, unmourned anti-communists. Moreover, given the year of the film, 1953, it seems to have been specially created to kick dirt on the names of Julius and Ethel Rosenberg who were being executed for their efforts on behalf of the Soviet Union. But argument over that possible link is for another time.
Here’s the plot line to give you an idea of how the two themes mesh (or don’t mesh) in this film. A woman, Candy (played by Jean Peters), while riding a New York subway has her wallet pick-pocketed by one low-life grafter, Skip (played by Richard Widmark). Not big deal in New York City, except that the wallet contained, unknown to Ms. Candy, secret microfilmed documents headed overseas (to Uncle Joe, okay) through (nefarious, of course) agents working here. Skip is not privy to what he has unleashed until Candy is ordered by one of the agents, someone who has “befriended” her, Joey (played by Richard Kiley), to get the damn thing back. Hence she finally winds up on South Street where in a run-down fishing shack Widmark hangs his hat.
Through guile, sexual advance, and anything else she can think of she tries to get the microfilm taking more than her fair share of beatings in the process. No dice, for a while. Of course to tie the red scare theme together agents, and you know what agents, are on the case looking out for the national interest. So the "win" is in the bag. Overall pretty thin gruel, right?
Right, except for Richard Widmark’s self-dramatizing flare as Skip, and his duplicity. See once Skip does become privy to what he has he is ready to sell to the highest bidder, and it takes hell and high water, including some cooing by Ms. Peters to get him on the right side of the angels. And this is where the whole thing falls down a little. No self-respecting criminal (or certified lumpenproletarian to use Marx’s term) is really going to go through hoops out of some patriotic fervor when he has gold right in front of him. Widmark and the cooing been-around-the-block Ms. Peters going off the deep-end for some patriotic reasons just stretches the imagination a little too far. But then you have to reach back to the old stand-by rationale of crime noir-crime, crime crime, or political crime, doesn’t pay to learn the lesson put forth here. Got it.
DVD Review
Pick Up South Street, starring Richard Widmark, Jean Peters, Richard Kiley, 20th Century-Fox, 1953
I have previously in this space seemingly beaten to death the idea that not all crime noirs are created equal. Here I am again giving a thumbs down to this one based on that elusive standard. And here's why. Most crime noirs , those that have good or bad femme fatales to muddy up the waters or not, have crime, the solving of crime, and the message that crime does not pay built into their plot lines. The film under review here, Pick Up On South Street, however tries to combine crime with a political message, a 1950s Cold War “red scare” political message-don’t mess with the reds or you’ll be dead. Courtesy of one J. Edgar Hoover, and about a million other unnamed, unmourned anti-communists. Moreover, given the year of the film, 1953, it seems to have been specially created to kick dirt on the names of Julius and Ethel Rosenberg who were being executed for their efforts on behalf of the Soviet Union. But argument over that possible link is for another time.
Here’s the plot line to give you an idea of how the two themes mesh (or don’t mesh) in this film. A woman, Candy (played by Jean Peters), while riding a New York subway has her wallet pick-pocketed by one low-life grafter, Skip (played by Richard Widmark). Not big deal in New York City, except that the wallet contained, unknown to Ms. Candy, secret microfilmed documents headed overseas (to Uncle Joe, okay) through (nefarious, of course) agents working here. Skip is not privy to what he has unleashed until Candy is ordered by one of the agents, someone who has “befriended” her, Joey (played by Richard Kiley), to get the damn thing back. Hence she finally winds up on South Street where in a run-down fishing shack Widmark hangs his hat.
Through guile, sexual advance, and anything else she can think of she tries to get the microfilm taking more than her fair share of beatings in the process. No dice, for a while. Of course to tie the red scare theme together agents, and you know what agents, are on the case looking out for the national interest. So the "win" is in the bag. Overall pretty thin gruel, right?
Right, except for Richard Widmark’s self-dramatizing flare as Skip, and his duplicity. See once Skip does become privy to what he has he is ready to sell to the highest bidder, and it takes hell and high water, including some cooing by Ms. Peters to get him on the right side of the angels. And this is where the whole thing falls down a little. No self-respecting criminal (or certified lumpenproletarian to use Marx’s term) is really going to go through hoops out of some patriotic fervor when he has gold right in front of him. Widmark and the cooing been-around-the-block Ms. Peters going off the deep-end for some patriotic reasons just stretches the imagination a little too far. But then you have to reach back to the old stand-by rationale of crime noir-crime, crime crime, or political crime, doesn’t pay to learn the lesson put forth here. Got it.
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