Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Mischa Redfern I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Ralph Hurtig A gritty dark movie directed by by Sam Fuller leads the viewer through a winding plot after a pickpocket steals and intercepts microfilm containing sensitive information from Candy, played by Jean Peters, destined to be shared by communist spies. The lowlife pickpocket Skip played by Richard Widmark, is an ace at eluding capture by police. Suspense ratchets up as Skip puts himself and Candy in harms way with the communist spies and the cops. With superb acting by Peters, Widmark and Thelma Ritter, this film is an awesome view and should be added to one of your top movies to see.

christopher-underwood Good solid and impressive noir with fabulous central performance from Richard Widmark. Perhaps not surprising because Widmark is always good but the real surprise is Jean Peters. Wish she had done more films, because here she is a revelation in a complicated role as gangster's moll cum prostitute with a heart of gold and then some. She is also believably tough. Big bad boyfriend sends her out with the gun, her only trouble is that she is up against Widmark. The wisest wise guy going. Apparently in Germany and France the communist theme was replaced with drug dealing and for me I reckon that would be a better idea - the 'better dead than red' US flag waving element being the weakest part of the film BUT seeing an excerpt in the extras with big bad Sam Fuller talking about the film, it is clear this was very much to his heart. So, hard for us Brits to ever quite understand the American position here but I guess it resounds even today. Very entertaining film with great location shots and impressive studio sets for the waterfront. Thelma Ritter is also great!

Claudio Carvalho In New York, the pickpocket Skip McCoy (Richard Widmark) steals a wallet in the purse of a woman named Candy (Jean Peters) in the subway. His action is witnessed by FBI Agent Zara (Willis B. Bouchey) but Skip escapes from the wagon with the wallet. When Candy discovers that she was stolen, she returns to the house of her former lover Joey (Richard Kiley) that is worried about the incident. Meanwhile Zara goes to the police station and asks Captain Dan Tiger (Williams Murvyn Vye) to identify the pickpockets in that area. He explains that he was following Candy that would deliver a microfilm to the chief of a communist spy ring. Captain Tiger summons the old informer Moe (Thelma Ritter) that sells the identity and address of Skip. Candy also seeks out Moe trying to find the pickpocket that stole her wallet. Meanwhile Skip finds the microfilm and learns how valuable it is to the communists. Candy also discovers that Joey is communist and is using her in a treason act and she falls in love with Skip. Soon a cat and mouse game among Skip, the police department and the spies begins. "Pickup on South Street" is a dated film-noir with a espionage story directed by Samuel Fuller. Richard Widmark is perfect in the role of a scum and shows a wonderful chemistry with Jean Peters. The choreography of the fight between Skip and Joey is amazing. My vote is seven.Title (Brazil): "Anjo do Mal" ("Evil Angel")

mgtbltp Another title that improves more and more with repeated viewings. Fuller with the cinematography of Joseph MacDonald (Niagara, Call Northside 777, Panic in the Streets, My Darling Clementine, Viva Zapata!, Yellow Sky, The Street with No Name, The Dark Corner) combines the great 20th Century Fox studio set design seamlessly with stock NYC location footage to depict a very believe-able 3 layered Manhattan. From vaulting suspension bridges overhead, against a backdrop of Brooklyn waterfront warehouses across to a lower East Side, East River, pier- scape, with a catwalk to a crumbling bait shack, butted up to the border of Chinatown with its grifters, flophouses, cigarette machines, B-girls, and tattoo parlors perched above the labyrinthine passages of the subways with their human drain ways from the surface.After a station stop where various riders both exit and enter the car as the train starts and sways we watch as patches of Widmark, a hat brim, a corer of his eye, come into view as he jostles his way through the car of commuters... until he stands opposite floozie "I've "kissed" a lot of guys" Peters.All of the major actors are great in their roles. Ritter in probably her best performance as Moe, she is sly, shrewd, and funny in her scenes with G Man Bouchey and cop Vye, woman to woman matter of fact with Peters, motherly with Widmark, fearless with Kiley. Fuller did an outstanding job on the screenplay and was spot on in the dialogs.Other highlights, watch for Peters dickering with Vic Perry (Lightning Louie) in a Chinese restaurant ( Perry I've read was a real pick-pocket and was a technical adviser on that aspect of the movie.), and the brutal fight Peters has with Kiley.Widmark is most excellent in the culmination of all his three time looser wise ass roles, and there is real chemistry in the on screen relationship between Widmark and Peters that sparks once they quit playing each other while jockeying for the microfilm . Some question the transition to romance, but it's meant to be a little off the wall. Moe points out how Skip is some kind of chick magnate. Moe she can't figure how women seem to fall for him, I'd say it is probably the most successful depiction of a relationship in a noir, and Fuller gives it plenty of time to marinate and stew. If it survives past the end credits is anybody's guess, but the deck is stacked against them. Peters is a real cutie in this, its a shame she cut her career way too short.Great score by Leigh Harline, Another 10/10 for me. The demise of the studio system really is apparent in Fullers later noirs