list http://www.spout.com/ Recent community activity around Pickup on South Street on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Pickup_on_South_Street/26680/default.aspx Title: Pickup on South Street
Year: 1953
Director: Samuel Fuller
Plot: Samuel Fuller scarcely used Dwight Taylor's source material, a languid courtroom romance, in crafting this pugnacious potboiler. Pickup on South Street is strictly Fuller film noir -- lean and wicked straight to its core. Barely out of prison, loner and pickpocket Skip McCoy (Richard Widmark) quietly helps himself to the contents of a woman's purse. His beautiful victim, Candy (Jean Peters), turns out to be an unwitting courier for the communist underground; McCoy's booty is actually microfilmed U.S. government secrets, formerly en route to Moscow. Both the FBI and Candy's employers are desperate to retrieve the film. The apolitical and arrogant McCoy has a plan to play both ends against the middle and come up ahead. However, dealing with the authorities may mean life in the clink, and the sadistic communists would rather kill McCoy than pay him off. He quickly becomes embroiled with Candy, who will risk everything to right her wrongs, and eventually even more to save her new man. When McCoy loses a cohort and Candy is almost killed, the cocksure pickpocket finds a stronger motivation than personal gain. ~ Aubry Anne D'Arminio, All Movie Guide
Times Tagged: 5
Number of Lists: 10
Number of blog posts: 4
Number of discussion threads: 8
SpoutRating: 4
]]>Sat, 04 Jul 2009 05:58:29 GMTPickup on South Street1953Samuel Fuller<a href="/players/P____90748/default.aspx" style='text-decoration:underline'>Samuel Fuller</a> scarcely used <a href="/players/P___113747/default.aspx" style='text-decoration:underline'>Dwight Taylor</a>'s source material, a languid courtroom romance, in crafting this pugnacious potboiler. Pickup on South Street is strictly Fuller film noir -- lean and wicked straight to its core. Barely out of prison, loner and pickpocket Skip McCoy (<a href="/players/P____76135/default.aspx" style='text-decoration:underline'>Richard Widmark</a>) quietly helps himself to the contents of a woman's purse. His beautiful victim, Candy (<a href="/players/P____56278/default.aspx" style='text-decoration:underline'>Jean Peters</a>), turns out to be an unwitting courier for the communist underground; McCoy's booty is actually microfilmed U.S. government secrets, formerly en route to Moscow. Both the FBI and Candy's employers are desperate to retrieve the film. The apolitical and arrogant McCoy has a plan to play both ends against the middle and come up ahead. However, dealing with the authorities may mean life in the clink, and the sadistic communists would rather kill McCoy than pay him off. He quickly becomes embroiled with Candy, who will risk everything to right her wrongs, and eventually even more to save her new man. When McCoy loses a cohort and Candy is almost killed, the cocksure pickpocket finds a stronger motivation than personal gain. ~ Aubry Anne D'Arminio, All Movie Guide5Slightly Tagged (1-5)10484http://www.spout.com/ProductImages/t38149t9k3g.jpghttp://www.spout.com/films/Pickup_on_South_Street/26680/default.aspxFilm http://www.spout.com/groups/Noir/Re_Is_Pickup_on_South_Street_a_noir_classic/313/42537/1/ShowPost.aspx Post By: JimBell
Post To: Noir
Post Date: 6/5/2009 4:09:26 AM
Body: [quote user="Risselada"] Just a bit of news: Lead actor from Pickup on South Street Richard Widemark died on Monday. [/quote And this group seems to have died. Which is a grand occasion to reflect on why I love film noir. Oddly, it is because it is historical. In one sense, I like film noir because only half a century ago, things were so different--relations between the sexes, the scope of society, technology, and so on. But in a deeper sense, I'm constantly intrigued by why film noir thrived in rosey post-war America. I don't have an answer, but the question keeps flickering every time I see a film noir. Finally, I think film noir at its essence is relevant to today--although many may not see this. For example, massive surveys of first year college students today reveal that their first goal it to make money, and their second goal is to make a lot of money, and they are worried about accomplishing this. But as film noir attests, you are most likely a chump (if you don't know that term, it is a useful one in 2009). Trouble will find you. You may be tough but you are also vulnerable. Although film noir had no intention of doing so, it is delivering messages for our times. fare thee well . . . JIMBELL
]]>Fri, 05 Jun 2009 08:09:26 GMTJimBellNoir6/5/2009 4:09:26 AM[quote user="Risselada"] Just a bit of news: Lead actor from Pickup on South Street Richard Widemark died on Monday. [/quote And this group seems to have died. Which is a grand occasion to reflect on why I love film noir. Oddly, it is because it is historical. In one sense, I like film noir because only half a century ago, things were so different--relations between the sexes, the scope of society, technology, and so on. But in a deeper sense, I'm constantly intrigued by why film noir thrived in rosey post-war America. I don't have an answer, but the question keeps flickering every time I see a film noir. Finally, I think film noir at its essence is relevant to today--although many may not see this. For example, massive surveys of first year college students today reveal that their first goal it to make money, and their second goal is to make a lot of money, and they are worried about accomplishing this. But as film noir attests, you are most likely a chump (if you don't know that term, it is a useful one in 2009). Trouble will find you. You may be tough but you are also vulnerable. Although film noir had no intention of doing so, it is delivering messages for our times. fare thee well . . . JIMBELL http://www.spout.com/groups/Community_Recommendations/Re_Need_more_Noir/643/39286/1/ShowPost.aspx Post By: Risselada
Post To: Community Recommendations
Post Date: 1/8/2009 6:53:11 PM
Body: [quote user="leeroy711"] I feel like I've recently re-discovered the noir genre. I just watched The Killing last night and I loved it. As with Fuller's Pickup on South Street. I had previously been a fan of Fritz Lang's older German movies, but now I've seen Fury and I need to see more of his American stuff. And after watching Touch of Evil, I can't understand why Citizen Kane is known as Orson Welle's best work.. I mean c'mon....!!! Charlton Heston just grows a mustache and presto!!! He's a Mexican. You can't beat that! Anyways what are some of the films I'm missing?? [/quote] I've seen all of these except for Fury, and they are all fantastic!! You MUST see these: Born to Kill Murder, My Sweet Out of the Past And these are also highly recommended and are all listed as film-noir on IMDB (for what it's worth): Sunset Blvd. The Big Sleep White Heat The Night of the Hunter Strangers on a Train The Third Man The Maltese Falcon And if you liked Samuel Fuller's Pickup on South Street you should check out another one of my favorites from him, Shock Corridor.
]]>Thu, 08 Jan 2009 23:53:11 GMTRisseladaCommunity Recommendations1/8/2009 6:53:11 PM[quote user="leeroy711"] I feel like I've recently re-discovered the noir genre. I just watched The Killing last night and I loved it. As with Fuller's Pickup on South Street. I had previously been a fan of Fritz Lang's older German movies, but now I've seen Fury and I need to see more of his American stuff. And after watching Touch of Evil, I can't understand why Citizen Kane is known as Orson Welle's best work.. I mean c'mon....!!! Charlton Heston just grows a mustache and presto!!! He's a Mexican. You can't beat that! Anyways what are some of the films I'm missing?? [/quote] I've seen all of these except for Fury, and they are all fantastic!! You MUST see these: Born to Kill Murder, My Sweet Out of the Past And these are also highly recommended and are all listed as film-noir on IMDB (for what it's worth): Sunset Blvd. The Big Sleep White Heat The Night of the Hunter Strangers on a Train The Third Man The Maltese Falcon And if you liked Samuel Fuller's Pickup on South Street you should check out another one of my favorites from him, Shock Corridor. http://www.spout.com/groups/Community_Recommendations/Need_more_Noir/643/39263/1/ShowPost.aspx Post By: leeroy711
Post To: Community Recommendations
Post Date: 1/8/2009 2:58:15 PM
Body: I feel like I've recently re-discovered the noir genre. I just watched The Killing last night and I loved it. As with Fuller's Pickup on South Street. I had previously been a fan of Fritz Lang's older German movies, but now I've seen Fury and I need to see more of his American stuff. And after watching Touch of Evil, I can't understand why Citizen Kane is known as Orson Welle's best work.. I mean c'mon....!!! Charlton Heston just grows a mustache and presto!!! He's a Mexican. You can't beat that! Anyways what are some of the films I'm missing??
]]>Thu, 08 Jan 2009 19:58:15 GMTleeroy711Community Recommendations1/8/2009 2:58:15 PMI feel like I've recently re-discovered the noir genre. I just watched The Killing last night and I loved it. As with Fuller's Pickup on South Street. I had previously been a fan of Fritz Lang's older German movies, but now I've seen Fury and I need to see more of his American stuff. And after watching Touch of Evil, I can't understand why Citizen Kane is known as Orson Welle's best work.. I mean c'mon....!!! Charlton Heston just grows a mustache and presto!!! He's a Mexican. You can't beat that! Anyways what are some of the films I'm missing?? http://www.spout.com/groups/Noir/Re_Is_Pickup_on_South_Street_a_noir_classic/313/26669/1/ShowPost.aspx Post By: Risselada
Post To: Noir
Post Date: 3/27/2008 5:25:37 PM
Body: Just a bit of news: Lead actor from Pickup on South Street Richard Widemark died on Monday.
]]>Thu, 27 Mar 2008 21:25:37 GMTRisseladaNoir3/27/2008 5:25:37 PMJust a bit of news: Lead actor from Pickup on South Street Richard Widemark died on Monday. http://www.spout.com/blogs/karina/archive/2008/3/26/26626.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/26/2008 3:01:14 PM
Body: Richard Widmark, who appeared in 70+ films including Saint Joan, Panic in the Streets and No Way Out, has died at the age of 93. Widmark began his career in the 40s, often playing vicious villains and anti-heroes. In the mid-50s, he started a production company, through which he made a number of Cold War-era social dramas including Time Limit and The Bedford Incident. My favorite Widmark film is probably Sam Fuller’s Pickup on South Street; I’ve embedded a typically, casually violent clip from that film above. The New York Times‘ obit lives here. Originally posted on:SpoutBlog » karina
]]>Wed, 26 Mar 2008 19:01:14 GMTKarinaKarina on SpoutBlog3/26/2008 3:01:14 PM Richard Widmark, who appeared in 70+ films including Saint Joan, Panic in the Streets and No Way Out, has died at the age of 93. Widmark began his career in the 40s, often playing vicious villains and anti-heroes. In the mid-50s, he started a production company, through which he made a number of Cold War-era social dramas including Time Limit and The Bedford Incident. My favorite Widmark film is probably Sam Fuller’s Pickup on South Street; I’ve embedded a typically, casually violent clip from that film above. The New York Times‘ obit lives here. Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/26/26624.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/26/2008 3:01:07 PM
Body: Richard Widmark, who appeared in 70+ films including Saint Joan, Panic in the Streets and No Way Out, has died at the age of 93. Widmark began his career in the 40s, often playing vicious villains and anti-heroes. In the mid-50s, he started a production company, through which he made a number of Cold War-era social dramas including Time Limit and The Bedford Incident. My favorite Widmark film is probably Sam Fuller’s Pickup on South Street; I’ve embedded a typically, casually violent clip from that film above. The New York Times‘ obit lives here. Originally posted on:SpoutBlog
]]>Wed, 26 Mar 2008 19:01:07 GMTSpoutBlogSpoutBlog on spout.com3/26/2008 3:01:07 PM Richard Widmark, who appeared in 70+ films including Saint Joan, Panic in the Streets and No Way Out, has died at the age of 93. Widmark began his career in the 40s, often playing vicious villains and anti-heroes. In the mid-50s, he started a production company, through which he made a number of Cold War-era social dramas including Time Limit and The Bedford Incident. My favorite Widmark film is probably Sam Fuller’s Pickup on South Street; I’ve embedded a typically, casually violent clip from that film above. The New York Times‘ obit lives here. Originally posted on:SpoutBlog http://www.spout.com/groups/Noir/Is_Pickup_on_South_Street_a_noir_classic/313/21360/1/ShowPost.aspx Post By: JimBell
Post To: Noir
Post Date: 11/2/2007 3:34:20 AM
Body: Pickup on South Street (1953) is a film noir well worth seeing. When a pickpocket steals a young woman’s wallet on the New York subway, neither at first knows that he has stolen top secret microfilm on its way to the enemy Communists. Samuel Fuller, screenwriter and director, tells a complicated story with easy and clarity, maintaining tension throughout. The acting is superb. Richard Widmark is wonderfully insolent as the cocky pickpocket. Thelma Ritter is world-weary and street smart as the middle-aged informer surviving day by day (her Academy nomination was deserved). Jean Peters as Candy is not quite perfect in every scene and she has to say a couple of stereotypical lines that almost no one could breath life into, but she exudes sexuality, and that is important to her role. The supporting actors, from Richard Kiley as Joey the Communist agent on down the list, give solid, credible performances. All of this is supported by an edgy score by Leigh Harline. I particularly appreciated the inventive music after I’d just watched Key Largo with its stereotypical and overblown orchestration. All the action is captured by one of my favourite cinematographers, Joseph MacDonald, who could shoot noir as well as anyone (although the three Academy nominations later in his career had nothing to do with noir). Shot in 20 days on location, the mean streets of New York City were captured convincingly. The film is not without its flaws, but I will discuss briefly two scenes to suggest why the flaws are easy to forgive. Toward the end of the movie, Joey the Communist agent beats Candy, his ex-girl friend, when she refuses to help him further. In 1952 the Production Code had refused to approve the script for Pickup on South Street because of excessive violence, singling out the scene of Joey beating Candy. Although the scene must have been toned down, it is still very violent. But it works because it is so well done and it fits perfectly in the dramatic texture of the film. Unlike many modern films which use dozens of edits for a fight scene and show close-ups of blood spatters and so on, Pickup uses so few edits that it seems a continuous shot in my mind, and the camera is at mid distance. While this sounds boring to the modern movie mind, it works wonderfully because we see two real people, in real time, spinning and crashing around the apartment in a stomach-knotting, realist way. It works dramatically because it manifests Joey’s mounting desperation to get the microfilm his relentless bosses want; it demonstrates Candy’s growing love for Skip, the pickpocket, in that she refuses to help locate him; and it makes forcefully clear that what started as a petty crime could become a life and death affair. The weak point in the movie is that after Skip steals Candy’s wallet, gets her in trouble, and then treats her miserably, she falls for him. We are given superficial motivation: He is a devilishly charming guy, and she is, well, a woman of relatively easy virtue. But this is not enough to make reasonable viewers overlook an improbable occurrence in a realistic film. We tend to accept the scene because it is done so well—steamy and complex. Steamy you’ll have to see for yourself, and as you do, your mind will start questioning whether he is just trying to get some easy sex or whether he’s toying with her before he makes some demands for money. Simultaneously, you will be wondering whether she has fallen for the guy or whether she is seducing him to get the microfilm or whether both motivations are going on at the same time. A lot of strengths make it easy to overlook a few weaknesses and create a movie which is greater than the sum of its parts.
]]>Fri, 02 Nov 2007 07:34:20 GMTJimBellNoir11/2/2007 3:34:20 AMPickup on South Street (1953) is a film noir well worth seeing. When a pickpocket steals a young woman&rsquo;s wallet on the New York subway, neither at first knows that he has stolen top secret microfilm on its way to the enemy Communists. Samuel Fuller, screenwriter and director, tells a complicated story with easy and clarity, maintaining tension throughout. The acting is superb. Richard Widmark is wonderfully insolent as the cocky pickpocket. Thelma Ritter is world-weary and street smart as the middle-aged informer surviving day by day (her Academy nomination was deserved). Jean Peters as Candy is not quite perfect in every scene and she has to say a couple of stereotypical lines that almost no one could breath life into, but she exudes sexuality, and that is important to her role. The supporting actors, from Richard Kiley as Joey the Communist agent on down the list, give solid, credible performances. All of this is supported by an edgy score by Leigh Harline. I particularly appreciated the inventive music after I&rsquo;d just watched Key Largo with its stereotypical and overblown orchestration. All the action is captured by one of my favourite cinematographers, Joseph MacDonald, who could shoot noir as well as anyone (although the three Academy nominations later in his career had nothing to do with noir). Shot in 20 days on location, the mean streets of New York City were captured convincingly. The film is not without its flaws, but I will discuss briefly two scenes to suggest why the flaws are easy to forgive. Toward the end of the movie, Joey the Communist agent beats Candy, his ex-girl friend, when she refuses to help him further. In 1952 the Production Code had refused to approve the script for Pickup on South Street because of excessive violence, singling out the scene of Joey beating Candy. Although the scene must have been toned down, it is still very violent. But it works because it is so well done and it fits perfectly in the dramatic texture of the film. Unlike many modern films which use dozens of edits for a fight scene and show close-ups of blood spatters and so on, Pickup uses so few edits that it seems a continuous shot in my mind, and the camera is at mid distance. While this sounds boring to the modern movie mind, it works wonderfully because we see two real people, in real time, spinning and crashing around the apartment in a stomach-knotting, realist way. It works dramatically because it manifests Joey&rsquo;s mounting desperation to get the microfilm his relentless bosses want; it demonstrates Candy&rsquo;s growing love for Skip, the pickpocket, in that she refuses to help locate him; and it makes forcefully clear that what started as a petty crime could become a life and death affair. The weak point in the movie is that after Skip steals Candy&rsquo;s wallet, gets her in trouble, and then treats her miserably, she falls for him. We are given superficial motivation: He is a devilishly charming guy, and she is, well, a woman of relatively easy virtue. But this is not enough to make reasonable viewers overlook an improbable occurrence in a realistic film. We tend to accept the scene because it is done so well&mdash;steamy and complex. Steamy you&rsquo;ll have to see for yourself, and as you do, your mind will start questioning whether he is just trying to get some easy sex or whether he&rsquo;s toying with her before he makes some demands for money. Simultaneously, you will be wondering whether she has fallen for the guy or whether she is seducing him to get the microfilm or whether both motivations are going on at the same time. A lot of strengths make it easy to overlook a few weaknesses and create a movie which is greater than the sum of its parts. http://www.spout.com/blogs/jimbell/archive/2007/11/2/21359.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 11/2/2007 3:30:03 AM
Body: Pickup on South Street (1953) is a film noir well worth seeing. When a pickpocket steals a young woman’s wallet on the New York subway, neither at first knows that he has stolen top secret microfilm on its way to the enemy Communists. Samuel Fuller, screenwriter and director, tells a complicated story with easy and clarity, maintaining tension throughout. The acting is superb. Richard Widmark is wonderfully insolent as the cocky pickpocket. Thelma Ritter is world-weary and street smart as the middle-aged informer surviving day by day (her Academy nomination was deserved). Jean Peters as Candy is not quite perfect in every scene and she has to say a couple of stereotypical lines that almost no one could breath life into, but she exudes sexuality, and that is important to her role. The supporting actors, from Richard Kiley as Joey the Communist agent on down the list, give solid, credible performances. All of this is supported by an edgy score by Leigh Harline. I particularly appreciated the inventive music after I’d just watched Key Largo with its stereotypical and overblown orchestration. All the action is captured by one of my favourite cinematographers, Joseph MacDonald, who could shoot noir as well as anyone (although the three Academy nominations later in his career had nothing to do with noir). Shot in 20 days on location, the mean streets of New York City were captured convincingly. The film is not without its flaws, but I will discuss briefly two scenes to suggest why the flaws are easy to forgive. Toward the end of the movie, Joey the Communist agent beats Candy, his ex-girl friend, when she refuses to help him further. In 1952 the Production Code had refused to approve the script for Pickup on South Street because of excessive violence, singling out the scene of Joey beating Candy. Although the scene must have been toned down, it is still very violent. But it works because it is so well done and it fits perfectly in the dramatic texture of the film. Unlike many modern films which use dozens of edits for a fight scene and show close-ups of blood spatters and so on, Pickup uses so few edits that it seems a continuous shot in my mind, and the camera is at mid distance. While this sounds boring to the modern movie mind, it works wonderfully because we see two real people, in real time, spinning and crashing around the apartment in a stomach-knotting, realist way. It works dramatically because it manifests Joey’s mounting desperation to get the microfilm his relentless bosses want; it demonstrates Candy’s growing love for Skip, the pickpocket, in that she refuses to help locate him; and it makes forcefully clear that what started as a petty crime could become a life and death affair. The weak point in the movie is that after Skip steals Candy’s wallet, gets her in trouble, and then treats her miserably, she falls for him. We are given superficial motivation: He is a devilishly charming guy, and she is, well, a woman of relatively easy virtue. But this is not enough to make reasonable viewers overlook an improbable occurrence in a realistic film. We tend to accept the scene because it is done so well—steamy and complex. Steamy you’ll have to see for yourself, and as you do, your mind will start questioning whether he is just trying to get some easy sex or whether he’s toying with her before he makes some demands for money. Simultaneously, you will be wondering whether she has fallen for the guy or whether she is seducing him to get the microfilm or whether both motivations are going on at the same time. A lot of strengths make it easy to overlook a few weaknesses and create a movie which is greater than the sum of its parts.
]]>Fri, 02 Nov 2007 07:30:03 GMTJimBellJimBell Blog11/2/2007 3:30:03 AMPickup on South Street (1953) is a film noir well worth seeing. When a pickpocket steals a young woman&rsquo;s wallet on the New York subway, neither at first knows that he has stolen top secret microfilm on its way to the enemy Communists. Samuel Fuller, screenwriter and director, tells a complicated story with easy and clarity, maintaining tension throughout. The acting is superb. Richard Widmark is wonderfully insolent as the cocky pickpocket. Thelma Ritter is world-weary and street smart as the middle-aged informer surviving day by day (her Academy nomination was deserved). Jean Peters as Candy is not quite perfect in every scene and she has to say a couple of stereotypical lines that almost no one could breath life into, but she exudes sexuality, and that is important to her role. The supporting actors, from Richard Kiley as Joey the Communist agent on down the list, give solid, credible performances. All of this is supported by an edgy score by Leigh Harline. I particularly appreciated the inventive music after I&rsquo;d just watched Key Largo with its stereotypical and overblown orchestration. All the action is captured by one of my favourite cinematographers, Joseph MacDonald, who could shoot noir as well as anyone (although the three Academy nominations later in his career had nothing to do with noir). Shot in 20 days on location, the mean streets of New York City were captured convincingly. The film is not without its flaws, but I will discuss briefly two scenes to suggest why the flaws are easy to forgive. Toward the end of the movie, Joey the Communist agent beats Candy, his ex-girl friend, when she refuses to help him further. In 1952 the Production Code had refused to approve the script for Pickup on South Street because of excessive violence, singling out the scene of Joey beating Candy. Although the scene must have been toned down, it is still very violent. But it works because it is so well done and it fits perfectly in the dramatic texture of the film. Unlike many modern films which use dozens of edits for a fight scene and show close-ups of blood spatters and so on, Pickup uses so few edits that it seems a continuous shot in my mind, and the camera is at mid distance. While this sounds boring to the modern movie mind, it works wonderfully because we see two real people, in real time, spinning and crashing around the apartment in a stomach-knotting, realist way. It works dramatically because it manifests Joey&rsquo;s mounting desperation to get the microfilm his relentless bosses want; it demonstrates Candy&rsquo;s growing love for Skip, the pickpocket, in that she refuses to help locate him; and it makes forcefully clear that what started as a petty crime could become a life and death affair. The weak point in the movie is that after Skip steals Candy&rsquo;s wallet, gets her in trouble, and then treats her miserably, she falls for him. We are given superficial motivation: He is a devilishly charming guy, and she is, well, a woman of relatively easy virtue. But this is not enough to make reasonable viewers overlook an improbable occurrence in a realistic film. We tend to accept the scene because it is done so well&mdash;steamy and complex. Steamy you&rsquo;ll have to see for yourself, and as you do, your mind will start questioning whether he is just trying to get some easy sex or whether he&rsquo;s toying with her before he makes some demands for money. Simultaneously, you will be wondering whether she has fallen for the guy or whether she is seducing him to get the microfilm or whether both motivations are going on at the same time. A lot of strengths make it easy to overlook a few weaknesses and create a movie which is greater than the sum of its parts. http://www.spout.com/blogs/quint/archive/2007/9/5/19402.aspx Post By: quint
Post To: An inordinate number of peppers
Post Date: 9/5/2007 10:55:00 PM
Body: I saw this on Netflix on demand thing. Whatever they're calling it. I'm becoming quite a fan of the service although it only works on a tricked out pc. It's pretty cool to have all this stuff at your disposal and although the selection is still slim, there are gems like this: early Sam Fuller. If you are not a fan of Sam Fuller, you probably haven't seen enough Sam Fuller. This is from a great Criterion Collection of his early films and it has all the tight structure and controversy of Shock Corridor or Pickup on South Street. If you've never seen a Sam Fuller film, think Quentin Tarantino, but in the 50's. That's doing Fuller a great injustice, but I think fans of the one should become fans of the other. I've always found Fuller's films to be well written. That is mainly why I am drawn to them. He reminds me of Clifford Odets. Fuller should be ranked with John Houston and he's better than Peckinpah at a lot of things. Check out everything you can.
]]>Thu, 06 Sep 2007 02:55:00 GMTquintAn inordinate number of peppers9/5/2007 10:55:00 PMI saw this on Netflix on demand thing. Whatever they&#39;re calling it. I&#39;m becoming quite a fan of the service although it only works on a tricked out pc. It&#39;s pretty cool to have all this stuff at your disposal and although the selection is still slim, there are gems like this: early Sam Fuller. If you are not a fan of Sam Fuller, you probably haven&#39;t seen enough Sam Fuller. This is from a great Criterion Collection of his early films and it has all the tight structure and controversy of Shock Corridor or Pickup on South Street. If you&#39;ve never seen a Sam Fuller film, think Quentin Tarantino, but in the 50&#39;s. That&#39;s doing Fuller a great injustice, but I think fans of the one should become fans of the other. I&#39;ve always found Fuller&#39;s films to be well written. That is mainly why I am drawn to them. He reminds me of Clifford Odets. Fuller should be ranked with John Houston and he&#39;s better than Peckinpah at a lot of things. Check out everything you can. http://www.spout.com/groups/Top_5/Re_Top_Five_Movies_with_Budgets_under_10_million/190/16834/1/ShowPost.aspx Post By: Jymkata
Post To: Top 5
Post Date: 7/29/2007 11:15:16 PM
Body: interesting topic, I must admit I like a lot of films with higher budgets but here is my top 5 without spending too much time looking up the numbers- 1. 12 Angry Men - $350,000 in 1957, about $ 5.6 mil. in today's dollars according to your rules. This is one of my favorite films. Yeah, the setting is a couple of rooms, but the direction is taut and wow, what a cast!2. Mad Max - est. $350,00 in 1979, about $ 2.8 mil. Amazing low budget film. They got a steal with an unknown Mel Gibson, but it's pretty gutsy to make a futuristic movie with this scale.3. City of God - This movie looks like it was made with $ 50 mil. thanks to the direction and cinematography, but can you believe it only cost Miramax $ 3.3 mil. ?4. Donnie Darko - This is another one that looks like it cost a lot, but it was made with $ 4.5 mil. and I loved it 5. Reservoir Dogs - I know it's hip to trash Tarantino as just a hip poser, but he made an outstanding debut for $ 1.2 millionin 1992. Big budgets, small budgets - the guy can direct.I can't find info on his budgets, but a master at making the money stretch was Samuel Fuller. I'd love to find out the numbers on my favorites like Pickup on South Street, The Steel Helmet, The Naked Kiss, Shock Corridor, Forty Guns, and The Big Red One. I think a great director can make a masterpiece out of a small budget but a hack can't make a decent movie out of Titanic's budget. An interesting case is Sam Raimi who made low-budget horror masterpieces with the Evil Dead series, but I feel like every increased budget yielded a worse film. The Spiderman movies are among some of the most expensive ever made and I think they suck.
]]>Mon, 30 Jul 2007 03:15:16 GMTJymkataTop 57/29/2007 11:15:16 PMinteresting topic, I must admit I like a lot of films with higher budgets but here is my top 5 without spending too much time looking up the numbers- 1. 12 Angry Men - $350,000 in 1957, about $ 5.6 mil. in today&#39;s dollars according to your rules. This is one of my favorite films. Yeah, the setting is a couple of rooms, but the direction is taut and wow, what a cast!2. Mad Max - est. $350,00 in 1979, about $ 2.8 mil. Amazing low budget film. They got a steal with an unknown Mel Gibson, but it&#39;s pretty gutsy to make a futuristic movie with this scale.3. City of God - This movie looks like it was made with $ 50 mil. thanks to the direction and cinematography, but can you believe it only cost Miramax $ 3.3 mil. ?4. Donnie Darko - This is another one that looks like it cost a lot, but it was made with $ 4.5 mil. and I loved it 5. Reservoir Dogs - I know it&#39;s hip to trash Tarantino as just a hip poser, but he made an outstanding debut for $ 1.2 millionin 1992. Big budgets, small budgets - the guy can direct.I can&#39;t find info on his budgets, but a master at making the money stretch was Samuel Fuller. I&#39;d love to find out the numbers on my favorites like Pickup on South Street, The Steel Helmet, The Naked Kiss, Shock Corridor, Forty Guns, and The Big Red One. I think a great director can make a masterpiece out of a small budget but a hack can&#39;t make a decent movie out of Titanic&#39;s budget. An interesting case is Sam Raimi who made low-budget horror masterpieces with the Evil Dead series, but I feel like every increased budget yielded a worse film. The Spiderman movies are among some of the most expensive ever made and I think they suck. http://www.spout.com/members/0/tags/robbery/MemberTagFilms.aspxrobbery
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