Skip McCoy is a sleazy, thieving, smart-ass. He has a gift for the grift and he’s not hesitant to use it on easy and innocent prey. If he has a middle name it may be “recidivism” as he’s been pinched by the police on many occasions for picking pockets and done jail time in three separate stints. Because of his three strikes, one more conviction for Skip and he’s going to the slammer for life. Candy on the other hand is a B-girl who has been “knocked around a lot” and seems to think its status quo for a girl like her. A svelte, good looking dame whose white dress worn in the film is so tight, she may need turpentine at the end of the night to peel it off. Candy gets these taut threads namely from guys with dough who want to see her in them. One could speculate that she most likely does more than simply bat her eyelashes at these same mooks to keep the duds they put her in. Lastly Moe Williams is a sub-contractor stool pigeon to the cops plain and simple. She resents the stoolie label however stating that she, “was brought up to report any injustice to the police authority.” Despite this rationalization, when the price was right she dropped a dime on Skip’s modus operandi and whereabouts to the cops when they were looking for his neck to hang a collar on. It may not seem too strange for a professional canary to sing about a lowly pickpocket, but unusual when one considers Moe has known Skip since he was a kid and genuinely professes to love him. While this triumvirate of two-bit hoods and hustlers may sound like the kind of scene you’d want to avoid at all costs, it’s these same characters you can’t afford to miss in director Sam Fuller’s masterpiece Pickup on
The film opens on a NYC subway car where Candy (Jean Peters) is carrying an envelope given to her by ex-boyfriend Joey (Richard Kiley). As a last favor to him she is to deliver the envelope to a man at a rendezvous point and she’ll be done with Joey once and for all. Candy is unaware that the contents inside the envelope (we later learn) are strips of microfilm consisting of classified
While the screenplay (written by Sam Fuller from a story by Dwight Taylor) is rich in dialogue, narrative, and story, the cast elevates it to a plateau of excellence that few movies in film noir reach. Widmark is outstanding as the anti-hero and gives arguably his best performance from an impressive ‘cannon’ of work. Jean Peters gives a solid performance as the manipulated moll Candy. While she may not have the otherworldly chops of Widmark or Ritter, she sells the part well enough to keep up with her co-stars. Without a doubt though, Thelma Ritter is soul of this film. Her ability to convey the vulnerability, charm, and guile of a complex character like Moe is a feat I can picture no other actress accomplishing the way she did in Pickup. It’s a brilliant performance that belongs in the pantheon of film. Seriously.
Visually there is plenty to appreciate and enjoy with Pickup on
As if the fantastic story isn’t enough, Pickup has many complex and fascinating themes permeating the film. One I discovered on a recent viewing is the interesting dichotomy between reliance on the male dominated world in which Moe and Candy operate to survive and their struggle with maintaining independence and autonomy. Moe needs men to buy her neck-ties and Captain Tiger to help feed her kitty. Candy needs men to earn a living by being the “eye” type of her namesake. The viewer gleans that Candy floats from the arm of one guy to the next but it’s not something she’s particularly proud of. When his tail is on the line and he needs a lead as to who lifted the microfilm from her purse, Joey asks Candy, “You’ve knocked around a lot. You know people who know people.” Candy’s face tenses up and Fuller gives the audience another telling close-up as she snarls, “You gonna throw that in my face again?” Due to the nature of their professions Moe and Candy can’t afford to get too close to anybody, yet simultaneously they have a pragmatic need for connecting with people. But beneath these same necessary connections of survival stirs an emotional longing to unite with others on a human level. Unexpectedly and briefly, Candy and Moe seem to find this commonality with each other via Skip acting as an inadvertent catalyst. It’s an interesting dynamic and brief exploration of such between these two women, especially for the patriarchal and straight-laced era in which the film was made.
There are so many little touches to Pickup on