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Pickup on South Street
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Pickup on South Street

Description
A pickpocket inadvertently takes a piece of top secret microfilm of a Communist agent when he intends to pick a purse for money. From that very moment, his death is seemingly warranted, since he becomes the prime target of the Communist spy ring.
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Pickup on South Street
CRITICS OF "Pickup on South Street"
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The Skinny
Resource

September 01, 2015

Like a spiky romantic comedy got stuck in one of the 1950s' bleakest visions of humanity - and it somehow all works magnificently.
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Variety
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December 01, 2008

Pickup for the most part falls flat on its face and borders on presumably unintended, comedy.
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New York Times

March 25, 2006

Sam Fuller, who wrote it and directed, appears to have been more concerned with firing a barrage of sensations than with telling a story to be believed.
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Village Voice
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May 26, 2015

As good as are Widmark, with his proto-Method grin, and Peters, with her tawny, untutored naturalism, this is Thelma Ritter's movie. She transforms what could have been no more than a colorful eccentric to a figure of unshakable dignity.
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Time Out
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February 09, 2006

Perhaps finally flawed by its overt political assumptions, but the film remains a desperate kind of masterpiece.
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CinePassion
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December 22, 2014

Cold War anxiety merely heightens the already-combustible fabric of everyday America in Samuel Fuller's two-fisted masterpiece
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ColeSmithey.com

May 14, 2009

Almost perfect.
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Slant Magazine
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May 25, 2015

Samuel Fuller's a master of unpretentious hot-house poetry, and that theoretical contradiction of terms gives one an idea of the irresolvable, elegantly compact flourishes that abound in his films.
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Times (UK)
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August 06, 2015

This atmospheric Cold War crime picture is a class act.
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TV Guide
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March 27, 2009

Both Widmark and Peters are superb, but it is Ritter, as the seedy but much-loved Moe, who gives the film its emotional punch.
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New Yorker
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May 25, 2015

Fuller's pugnacious direction and his gutter-up view of city life romanticize both the criminal code of honor and the jangling paranoia of global plots; his hard-edged long takes depict underworld cruelty with reportorial wonder ...
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Chicago Reader
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October 02, 2002

It isn't his best, but this 1953 feature may be the archetypal Sam Fuller film, a condensation of his themes and techniques with the steam still rising.
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