剧照
详细剧情
长篇影评
1 ) [Film Review] On Dangerous Ground (1951) and Pickup on South Street (1953)
Nicholas Ray and Samuel Fuller, two American moviemakers extraordinaire, were born one year part, both lauded for their distinctive styles, here they offer two ‘50s film-noir features, both concern themselves with a hardboiled male protagonist, whose dismal world-view is softened by a good-hearted female character, but their attitudes couldn’t be more divergent.
In Ray’s ON DANGEROUS GROUND, Robert Ryan plays a tough city cop Jim Wilson, unlike his colleagues, he is a loner, case-hardened by the seedy milieu and seamy riffraff he encounters daily, his occupational hazard begins to tell, as he is more than willing to enforce violence upon those who doesn’t cooperate (suspects and witnesses alike).
Relegated by his superior to investigate an up-state murder case, Jim takes the talking-to with a sneer, but his callous carapace begins to thaw out by Mary Malden (Lupino), the blind sister of the unbalanced offender Danny (Williams). He promises her he will do all in his power to safeguard Danny’s safety (who should be warehoused), while the victim’s grieving father Walter Brent (Bond) bays for blood.
Whether it is a futile promise or not, Jim is impressed by Mary’s poised phlegm and unbowed strength, which awakes his compassion and makes him whole again, a happy ending is hammered out, but not before both are given some headspace in the aftermath. Ray and screenwriter Bezzerides’ straightforward moral lesson is a tad oversimple but Ryan sports the distinction of being a lodestone of masculine gallantry, and Lupino is an exemplar of fortitude and grace, who also pluckily takes the directorial chair when Ray is stricken with a malady.
If Ray’s film is a handsome-made, conventional studio fare from the Hollywood assembly which is adequately instructive (e.g. the film is very prescient to flag up police brutality), Fuller’s PICKUP ON SOUTH STREET is far more ebullient and impudent, physical violence erupts at the drop of a hot (don’t blink when women get shot and battered).
Lumping a pickpocket, a stool pigeon, a girl with a questionable past, some commies and red-baiting from the law enforcement into a scramble, this cat-and-mouse game of obtaining a microfilm is a slap on the face of blind patriotism. Skip McCoy (Widmark), an ex-con and hardened pickpocket, is not going to give away the said film he pilfers from Candy (Peters) on the metro simply because it is a treason if he refuses to do so, not if he can exact a handsome payoff from the valuable. No police sweet-talk or coercing can persuade him. He even scoffs at the promise of clean slate from the police captain Dan Tiger (Vye, who look comically miffed and cannot suffer lowlife gladly).
A weasel-faced Widmark has just the right attributes to make Skip a deadbeat hero, he has nothing to lose, doesn’t even live a semblance of a life, he is one cool desperado who doesn’t care about his own life. He is the obverse of Ryan’s toughie Wilson since they belong to the opposites of the law, yet, both are consumed by lonesomeness and cynicism. Here, it is Candy’s unusual fidelity that delivers Skip from his status quo, their growing romance doesn’t have a solid ground, but one can see that Fuller, in spite of the violent, macho world he constructs, is profoundly a sentimentalist, Skip and Candy share that “made-for-each-other” vibe, they are cut from the same cloth and once their paths are crossed, it is only natural they stick together and canoodle whenever they feel like to. Peters really endeavors to deliver Candy’s transition as smooth and persuasive as possible, her voluptuousness is a vulgar one, but that doesn’t cheapen Candy’s heroic act, in a sense, she is the true agency in the movie by demonstrating her affection and loyalty unyieldingly.
There is honor among thieves, even for Moe (Ritter), the wiseacre stoolie (her way of doing business with Captain Tiger is the comic relief the movie is hurt for), she earns her living (and preparing for her death) candidly, no bad blood between her and Skip, and she is more than befuddled when Candy knocks on her door and overshares her feelings.
Ritter is meritoriously nominated for an Oscar on the strength of her impactful impersonation, Moe’s world-weariness is so infectious even though we don’t want to credit it, we cannot help imagining the worst. Moe’s fate also points up how the anti-Red brainwash works (or any kind of brainwash), she is indoctrinated to dislike something she doesn’t even know of, and is killed because of that benightedness, Fuller always knows his way of sending his veiled message.
Both Ray and Fuller show their dab hands, ON DANGEROUS GROUND has several widely impressive landscape compositions while PICKUP ON SOUTH STREET is adept at zooming in on the pickpocketing close-ups with rapid editing to simulate veracity. But both films are tainted by its stock designation of characters of both genders, but Fuller’s work leaves more reverberations and betrays his maverick perspicacity.
referential entries: Ray’s THEY LIVE BY NIGHT (1948, 7.1/10); Fuller’s THE NAKED KISS (1964, 7.5/10), UNDERWORLD U.S.A. (1961, 6.7/10); Max Ophüls’ CAUGHT (1949, 7.7/10).
Title: On Dangerous Ground
Year: 1951
Country: USA
Language: English
Genre: Drama, Film-Noir
Director: Nicholas Ray
Screenwriter: A.I. Bezzerides
based on the novel by Gerald Butler
Music: Bernard Herrmann
Cinematography: George E. Diskant
Editing: Roland Gross
Cast:
Robert Ryan
Ida Lupino
Ward Bonds
Anthony Ross
Charles Kemper
Ed Begley
Sumner Williams
Richard Irving
Cleo Moore
Ian Wolfe
Rating: 6.8/10
Title: Pickup on South Street
Year: 1953
Country: USA
Language: English
Genre: Crime, Film-Noir, Thriller
Director/Screenwriter: Samuel Fuller
from a story by Dwight Taylor
Music: Leigh Harline
Cinematography: Joseph MacDonald
Editing: Nick DeMaggio
Cast:
Richard Widmark
Jean Peters
Thelma Ritter
Richard Kiley
Murvyn Vye
Willis Bouchey
Milburn Stone
Vic Perry
Rating: 7.5/10
2 ) 《血洒黑地狱》：一组胶片引发的血案
3 ) Mam'selle 亲爱的小姐
瑟尔玛·瑞特饰演警方的一名线人，可惜这次她卷入了一场难以想象的国际案件之中，为了保护一名持有国家机密的小偷，她最终选择牺牲了自己。将一个底层人的爱国心，外表唯利是图却内心善良的复杂角色处理的极其到位，出色的表现提名了奥斯卡最佳女配角奖。
伴随着轻柔的“Mam'selle”，从容的面对敌人。
4 ) Homme Fatal
如果用homme fatal来形容女主角的男友，这个词该感到冤枉了，在电影里，Joey完全没表现什么可以吸引女观众的品质，除了他长得还算体面以外。但既然女主角那么喜欢他，想必他有其吸引力，只不过没在电影中表现出来。他让Candy这样一个忠诚善良又爱国的女子差点成了叛国者。不过，在黑色电影里，femme fatale一般来说诱惑的是过着比较体面的生活，并且还要有一定能力的男人，如果这个男人没有能力帮助她的话，她的诱惑就没有意义了。但Candy的品质主要表现在她的善良单纯，而不是她的能力。据说，Candy的角色，身兼编剧和导演的Fuller原本是为梦露写的，但是梦露在拍Gentlemen Prefer Blonds，所以才找了Jean Peters来拍。当然Jean Peters是个尤物（她是好莱坞著名猎艳者Howard Hughs的第二任妻子），演技也不错，但是要说表现外表性感诱惑却又单纯无知，还有谁比梦露更不需要表演就已经具有说服力呢？
5 ) "黑"的不纯粹的"黑色电影"
先说说那个＂告密者＂Mon，她其实是所有出场角色中，生活境遇最差劲的，她出售劣等的领带，出卖一些＂有用的情报＂过活．盼望自己能够得到最好的结局，也不过是＂能找个好点的墓穴，把自己埋了＂．但她恪守着自己的道德底线，没有把Skip出卖给那个＂共产党人"Joey，因为她知道对方是要把Skip至于死地，而且把Skip出卖给＂共产党＂，在Moe看来，也等同于卖国行为．
顺便说一句，Moe的扮演者Thelma Ritter在影片中贡献了两场相当精彩的演出，（开场和警察们的谈判．被杀害前的独白）在这两场戏中，她把一个在生存困境和道德困境的矛盾之间挣扎的小人物的内心世界演绎得极其精确，到位．
女主角Candy，当她面临生死抉择时，她的选择是，出卖Mon，然后让她逃跑，当然，就算死，也绝不出卖自己的爱人Skip．最后，因为＂爱国＂，她出卖了Joey.
再看看电影中的警察，这是我看到的作为配角出现在＂黑色电影＂中最文明的警察了．（笑）他们其实可以通过一次简单的搜身，就能搜到经常放在Skip衣兜里的胶片，（当然可能需要用到一些＂微不足道＂的小暴力）他们也可以在Skip家里搜一搜，因为Skip有时也把胶片放在家里．（这张搜查证应该不难搞到吧．）．
不过，我觉得可以把这些＂小失误＂看作是警察不愿意违反自己道德底线的表现，因为这些警察认为自己比罪犯们文明多了．
但你也可以把它看作是这部电影最大的Bug.
最后来谈谈我们的男主角，他其实这部电影中道德底线最低的家伙了，他最后把Joey打一顿，然后交给警察的直接原因只是＂他打了我的女朋友＂．当然，导演想要告诉我们的另一个原因则是他是＂爱国者＂．
Joey当的结局是最惨的，因为他既没有道德底线，又是＂卖国贼＂．
＂爱国＂当然是这部影片的主题，也是这部电影中上至国家公务员．（国家安全局干探,警察,),下至普通犯罪份子都遵守的道德准则．但我们知道电影中所说的这种＂爱国＂本就是不纯粹，电影中＂爱国＇的定义就是＂把那些我们社会的毒瘤－－共产党人，从我们国家肌体中分离出去＂的＂政治恐怖主义＂（简而言之，就是＂麦卡锡＂主义），所以这部电影就是＂不纯粹＂的，真是可惜了这部本可以成为经典的电影．
6 ) 奇怪的电影介绍带来的错位的观影预期导致了不好的观影体验
这片子在imdb上7.7，算是很高了。 豆瓣上的简洁有大错误，哪里来的电影拍摄，还说是喜剧片，搞得我抱着诙谐的心态看这电影，结果发现完全不对劲…… 又是被奇奇怪怪的简介坑害的观影体验。 这部戏最让人喜欢和留下印象的还是配角们。 moe一段在警察局指认犯人以及临终前的独白十分出色 女主被正在吃饭的那个男的坑钱的那个片段也挺有意思。做个中间人就赚了好多刀，而且还用筷子夹钱。最后没忘吃一个叉烧包。 最后，我还是感到女主对skip的产生情愫而有疑惑……就很迷哎……
男主角真伟大 不象扒手像游侠
黑色阴郁的整体氛围呼应卑劣混乱的底层世界，同时表达出导演富勒对社会的批判
塞缪尔·富勒的谍战犯罪片，获威尼斯铜狮奖。1.拍摄于麦卡锡主义时代，尽管导演本人不感兴趣政治，但从影片的共产党员人物形象与最终结局来看，还是完成了黑白分明的意识形态刻画任务。2.一部反类型的黑色电影，不存在蛇蝎美人，男女主最终共同成长，没有宿命与死灭，结局也很大团圆。3.大量运用特写与前推镜头，接近和体察角色。4.扒手在地铁中用报纸掩护遮挡的偷窃方法同质于布列松[扒手]。（7.0/10）
海报是最大的亮点。其他就这样吧！毕竟生活在现在，这类片看多了。
女主还蛮灵的，精气神不输同时期的泰勒，还勇于破相。Thelma Ritter的确是影史第一女配角。
美国B级片教父塞缪尔·富勒作品，1953年第18届威尼斯电影节铜狮奖，是关于小偷、爱情、国家机密和暴力的故事。虽然影片故事带有强烈的意识形态的色彩，但是导演本人似乎无意去渲染反共情绪。相反，他仅仅是将其作为一种故事背景去表现。这部影片杂糅了这么多元素，却拍的异常精彩，很喜欢
最局促、简陋的空间带来的恰恰是最灵活自由的调度。各种精彩的视觉缝合。扶手作为勾连的符号，运用的实在够绝妙。小偷作为正面角色并且获得浪漫爱情的圆满结局，其实是对（反供）冷战意识形态的否定。
杰出的理查德 维德马克，一个被低估的美国演员，他的邪气怪笑是影史最精彩的表演瞬间。
从扒手开始，以扒手结束，很精彩的故事。这样的情节在当时很少见，集合了惊险、黑色以及政治等元素的黑色电影。女主角并不如传统一样心如蛇蝎，而是善良又伟大的。男主角实在太有魅力了，倒像游侠。
麥卡錫主義橫行產物。全片帶有著強烈的意識形態色彩，集合了驚險、黑色以及政治等元素。可見Fuller這個老傢夥就是這麼樂于將人物置身于絕望和崩潰為基礎的特殊位置上。真是服了這個士兵出身的悲觀主義者。
原来先让女人出去搏命随即再“放着我来！”就是牛逼哄哄的黑色电影了啊。
8.7；努力生活
斯大林 共产主义 d cc 南街奇遇Pickup on South Street(1953)理查德·威德马克D9.MiniSD-TL..
由偶然事件引发的一系列连锁事件，塞缪尔·富勒的重心在于通过类型叙述不断放置各种元素，结果呈现出一种混乱而野蛮（于人于事）的下层世界，其中廉价爱情的爱恨不断由矛盾转换也是一种通俗剧的经典结构；而黑泽明于49年拍摄的《野良犬》似乎也成为本片另一个有趣的互文。
本片是美國B級片宗師富勒的黑色電影代表作之一，最大特色是在短小精悍的結構內，展現了富勒在黑色電影與諜戰片類型糅合的能力。此片通篇皆是充斥著簡潔明了的作風，對白精煉生動，攝影巧妙而具有活力，尤其大量較為的柔和的特寫，增加了演員彼此之間互動的真實性與親密感，臨近結局的跟蹤長鏡頭與從火車站追到鐵軌的暴力打鬥動人心弦，洋溢著一種急躁不安的氛圍。理查德威德馬克飾演的小偷不同於黑色電影的男主角總是有種憤世嫉俗的憂傷，而是自大，傲慢而又邪惡，簡皮特斯的女主角也不是一般作品中出現的蛇蠍心腸的美人，而是天真得令人憐愛。結局更是出現罕見的大團圓收尾，足見富勒的離經叛道。
老太婆被杀的那场戏印象最深...福勒很会牵动观众的情绪...
这偷窃技术是师从Pickpocket中的米歇尔吧。真是喜欢本片，没有蛇蝎美人，有的是可爱有血性的女主，和一个道德底线低却如此侠客的男主。他是英雄，但结尾又未归到爱国热情，而是“谁让你揍老子女人”。女主中枪那场戏，干脆令人难忘
富勒的anti-femme气质很浓厚，表现在利诱威逼和推搡暴打。设想错了黑色电影套路，结局黑中有光明的设定却接受不能。
导演塞缪尔·富勒 号称美国B级片教父 果然很合我的口味 这是一个冷战时期的黑色故事 发生在纽约的地层社会 在多个对话场景中使用了“近推”的手法（近景推到特写）张力效果十足
大学时候看到的福勒.当时的感觉居然是:::性感!记得richard widmark好侵犯性好渗透力的...喜欢这个演员啊!