Falling into the gutter is easy. Getting out? Not so much.
When does a movie get too cute for its own good? Possibly when the femme fatale is named Cuddles. Despite that laugh inducing bit of characterization, Underworld U.S.A. is the deadly serious tale of a kid who becomes a career criminal in order to exact revenge upon the hoods who killed his father. Cliff Robertson stars and Dolores Dorn plays the aforementioned Cuddles in this cautionary tale about the inexorable gravity of organized crime, which can suck everybody into a place from which there's no redemption or escape. Samuel Fuller steers the production with a sure hand, Robertson broods, Dorn suffers, gangsters plot and scheme, and the final result is tough and wrenching.
Best line: “I know. I'm drunk. But my brain's okay!”
It's interesting that on many websites Underworld U.S.A. isn't classified as a film noir. But it has most of the elements—overriding sense of doom, moral ambiguity, police corruption, scenes in bars, copious shadows, rain slick streets, extreme close-ups, et al. And Fuller had previously helmed the excellent 1953 film noir Pickup on South Street. But often you'll see Underworld U.S.A. slotted as a drama or melodrama. Well, it's definitely those. Viewers will see that Fuller, who was influenced by pulp novels and tabloids, had a unique vision. While Underworld U.S.A. doesn't stand up against the best film noir has to offer, it's successful on its own terms. It premiered in New York City today in 1961.
Widmark/Peters noir looks great and packs a punch.
It wouldn't be a film noir festival without at least one anti-commie thriller and Pickup on South Street is it. The movie stars Richard Widmark as a two-bit pickpocket who lifts a wallet during an NYC subway ride and unexpectedly ends up with a priceless government secret meant to be given to commie spies by a cabal of sweaty traitors. Widmark sneers his way into a position where he thinks he can sell the stolen info for fifty grand. He's got another think coming.
Best line: If you refuse to cooperate you'll be as guilty as the traitors that gave Stalin the A bomb!
Well, Stalin had help from spies but we don't think any gave him the bomb like a borscht recipe. He had help on other fronts as well, including from captured German scientists and homegrown Russian knowhow, but this is film noir, so go with it. The good team vs. bad team dynamic continues throughout, and numerous people try to convince Widmark to put his own interests aside and play for the home squad. They're wasting their breath.
The movie co-stars Jean Peters, a good actress and amazing knockout who's been a bit forgotten, even though she was in a few other good films and went on to marry nutball billionaire Howard Hughes. Her opening scene on a humid subway will stick with you. Sadly, she harbors yet another inexplicable film noir infatuation with a male lead who's about as nice as a sack of cold dick tips, but this is film noir so go with it. Ditto for the pushing and slapping Peters endures. She's even knocked cold by Widmark in their initial encounter. Deliberately.
His apology: You okay or did I bust something?
These sly flirtations increase Peters' ardor. The female heart wants what it wants, at least in the minds of wannabe-tough-guy Hollywood screenwriters. That screenwriter would be Samuel Fuller, who actually was acquainted with the underworld from his days as a crime reporter. So it could be that he knew more about gutter love than we do, but we doubt it. Here's what really matters—Peters absolutely kills her role, and does her own stunts too. Thelma Ritter, later of Rear Window, also gets a pivotal turn and nails her part as a tired older lady just trying to get by.
In the end Pickup on South Street comes full circle. While it's about patriotism, and trying to survive in New York City with zero means, and a weird kind of masochistic 1953 infatuation we'll never really understand, it starts with pickpocketing and eventually returns, in a symmetry that feels very modern in screenwriting terms, to that idea for the excellent climax. With Fuller directing and Joe MacDonald handling the cinematography, the final result is a knockout in both senses of the word—looks great, packs a punch.
She’s a classic work of art, and the sculpture isn’t bad either.
American actress Christa Lang is known for her many collaborations with director and husband Samuel Fuller, including The Naked Kiss, Shock Corridor, Underworld U.S.A., and his underrated racial drama White Dog. She also appeared in Jean-Luc Godard’s Alphaville, Peter Bogdanovich’s What’s Up Doc? and has already wrapped The Queen of Hollywood Blvd., to be released later this year. The above shot, showing her in front of a backdrop depicting Jean-Baptiste Carpeaux’s famous sculpture "La danse," which is located on the façade of the Opera Garnier in Paris, appeared in the Spanish magazine Triunfo in 1965.
She spends a lot of time in the Hospital, but her condition is good.
Promo image for Samuel Fuller’s The Naked Kiss, with American actress Constance Towers, who has appeared in classic films like Shock Corridor and currently plays Helena Cassadine on television's forever-running soap opera General Hospital. She's seen here in 1964, packed and ready for her long career.