Pickup on South Street

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Cast & Crew

Richard Widmark
Skip McCoy

Jean Peters
Candy

Thelma Ritter
'Moe' Williams

Murvyn Vye
Capt. Dan Tiger

Richard Kiley
Joey

Willis Bouchey
FBI Agent Zara

Milburn Stone
Det. Winocki

Henry Slate
MacGregor (uncredited)

George Eldredge
Fenton (uncredited)

Stuart Randall
Police Commissioner (uncredited)

Maurice Samuels
Peddler (uncredited)

Parley Baer
Headquarters Communist in chair (uncredited)

Virginia Carroll
Nurse (uncredited)

Roger Moore
Mr. Victor (uncredited)

Clancy Cooper
Det. Eddie (uncredited)

John Gallaudet
Det. Lt. Campion (uncredited)

Wilson Wood
Driver (uncredited)

Samuel Fuller
Director

Samuel Fuller
Writer

Dwight Taylor
Writer

Jules Schermer
Producer

Dorcas Cochran
Original Song

Leigh Harline
Original Music

Lionel Newman
Original Song

Joseph MacDonald
Cinematographer

Nick DeMaggio
Film Editing

George Patrick
Art Director

Lyle R. Wheeler
Art Director

Al Orenbach
Set Decoration

Travilla
Costume Design

Ben Nye
Makeup Artist

Ad Schaumer
Assistant Director

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Audience Reviews for Pickup on South Street

• Jun 19, 2019

  Five Reasons To See PickUp On South Street: 1. It's a Samuel Fuller picture. 2. Thelma Ritter's Oscar nominated performance 3. Jean Peters sexy performance 4. Richard Widmark's screen presence 5. It's Film Noir, baby!
  

  Aldo G Super Reviewer
• Jun 18, 2017

  Sam Fuller wrote and directed this urban noir with a 50's look-on-the-bright-side ending as lowlife-cause-society-made-me-that-way scuzzball Widmark pickpockets a pretty girl on the subway and unknowingly falls into a commie plot against the U.S. Will he go for the gold or be a Yankee Doodle teamplayer? As we mull this over there's Jean Peters as the girl who knows better (but still hopes for an out) as the bone of contention and Thelma Ritter as the angel on his shoulder. Ritter has one scene alone that makes the whole film worthwhile, but the whole production is certified good, and one of those films you wish you was in.
  Super Reviewer
• Apr 24, 2013

  Pickup On South Street is one of the most brilliant movies ever made. An example of the directing: When Candy (Jean Peters) starts going through her purse and notices her wallet is missing, an alarm goes off in the background in the building she's in -- as if it's an alarm going off in her head. It's not cartoon-like -- it's subtly woven into the background in a way that strikes you on a subconscious level until you've seen the film a few times and it just "clicks" that there's an alarm bell going off when she starts frantically going through her bag. Richard Widmark is way on top of his game as a smart-alec -- he's really great -- but the highlight performance of the film was the first scene for "Moe," the street peddler/informer, played by Thelma Ritter. Later, in her apartment, you are not seeing a movie -- you're seeing a real person. I've never seen anyone "act" so real I felt like I was looking into a real room until Ritter's performance -- right down to the way her hair stuck out a bit when she removed her hat. About a million other things just *worked,* from the way Lightning Louie picks up money with his chopsticks to the way Candy's jewelry clicks when she flicks Moe's hand away from her brooch, to the way Moe gets the dollars and change from the police captain across the FBI guy's chest -- and even the way the captain opens his filing cabinet, like he's been doing it in that way in that room for many years. "Pickup On South Street" is detailed moves (directing) with consummate performances (acting) and superb now-nostalgic visuals of the day, such as the panel truck, the boards leading to the shack out on the water, the dumbwaiter, -- and the unforgettable place Skip stashes his pocket pickings. Wonderful stuff. "Pickup On South Street" is also one of the few movies where, even though the characters aren't perfect, you do care about them -- perhaps because they have been somewhat branded by their pasts in ways that are hard to escape: Skip as a "three-time loser" and Candy as a youngish woman who has "knocked around" a lot. When these people behave a little more badly than you'd expect, it's in sort of novel ways that make it seem you're looking in at people you'd never otherwise imagine -- and yet you know that they are possible because the actors make them so recognizably human. 5 Stars. 4-20-13
  Super Reviewer
• Oct 30, 2011

  One of the great film noir's and my favorite early work of Sam Fuller.
  

  Super Reviewer