The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

The Art of Cinema #140

Pickup on South Street
(Samuel Fuller, 1953)


Jeff Duncanson said...

This movie is one tough little nut, that's for sure.

When Richard Kiley's commie bad guy shot Jean Peters in the back I almost jumped out of my seat. Also, the best fistfight in movie history. Period.

Vanwall said...

Yeah, Kiley was a major slime-ball in this one and I remembered that when I saw the "Night Gallery" episode he was in. I was really impressed with Peters in this film, which wasn't preachy until the very end. Widmark was amazingly sympathetic for that period, but let's face it, everybody loved a cheap crook up against a Commie rat. ;-)

Mr said...

flawless film noir