text: This crime thriller is sort of like a film noir, though changes the context from post-war to Cold War and has something relatively decent to say about humanity. In "Pickup on South Street", policemen are good guys, criminals are genuine guys, and the only enemies are "The Commies", who are ultimately differentiated from the good-guys in that they are emotionally personable, driven by an actual care for their own worth, as shown in the constant tracked-in close-ups that speckle the movie.<br /><br />This movie revolves around characters. The personalities in this film are rather unique and detailed: Skip the pick-pocket who is able to stare down any danger, and sometimes while going through their personal possessions; Moe the informer who is just trying to save up for a spectacular funeral, but who manages to capture the hearts and respect of nearly all the other characters (and the audience); Candy, the ill-named innocent girl who only thinks she's doing government work and doesn't fully comprehend the conspiracy she's involved with; and Joey, the ex-boyfriend evil Commie baddie who is trying to hide everything from everybody and, ironically, is the worst person at doing it. Throw in a bunch of very colorful supporting characters (such as the guy with the chopsticks and the policemen) and "Pickup on South Street" treats you to a splendor of personalities as they hunt down the mysterious and accidentally stolen microfilm frames.<br /><br />--PolarisDiB
query: This crime thriller is sort of like a
gen_review:  film noir, though changes the context from post-war to Cold War and has something relatively decent to say about humanity. In "Pickup on South Street", policemen are good guys, criminals are genuine guys, and the only enemies are "The Commies", who are ultimately differentiated from the good-guys in that they are emotionally personable, driven by an actual care for their own worth, as shown in the constant tracked-in close-ups that speckle the movie.<br /><br />This movie revolves around characters. The personalities in this film are rather unique and detailed: Skip the pick-pocket who is able to stare down any danger, and sometimes while going through their personal possessions; Moe the informer who is just trying to save up for a spectacular funeral, but who manages to capture the hearts and respect of nearly all the other characters (and the audience); Candy, the ill-named innocent girl who only thinks she's doing government work and doesn't fully comprehend the conspiracy she's involved with; and Joey, the ex-boyfriend evil Commie baddie who is trying to hide everything from everybody and, ironically, is the worst person at doing it. Throw in a bunch of very colorful supporting characters (such as the guy with the chopsticks and the policemen) and "Pickup on South Street" treats you to a splendor of personalities as they hunt down the mysterious and accidentally stolen microfilm frames.<br /><br />--PolarisDiB
reference_response:   film noir, though changes the context from post-war to Cold War and has something relatively decent to say about humanity. In "Pickup on South Street", policemen are good guys, criminals are genuine guys, and the only enemies are "The Commies", who are ultimately differentiated from the good-guys in that they are emotionally personable, driven by an actual care for their own worth, as shown in the constant tracked-in close-ups that speckle the movie.<br /><br />This movie revolves around characters. The personalities in this film are rather unique and detailed: Skip the pick-pocket who is able to stare down any danger, and sometimes while going through their personal possessions; Moe the informer who is just trying to save up for a spectacular funeral, but who manages to capture the hearts and respect of nearly all the other characters (and the audience); Candy, the ill-named innocent girl who only thinks she's doing government work and doesn't fully comprehend the conspiracy she's involved with; and Joey, the ex-boyfriend evil Commie baddie who is trying to hide everything from everybody and, ironically, is the worst person at doing it. Throw in a bunch of very colorful supporting characters (such as the guy with the chopsticks and the policemen) and "Pickup on South Street" treats you to a splendor of personalities as they hunt down the mysterious and accidentally stolen microfilm frames.<br /><br />--PolarisDiB<|endoftext|>
query_reference_response: This crime thriller is sort of like a  film noir, though changes the context from post-war to Cold War and has something relatively decent to say about humanity. In "Pickup on South Street", policemen are good guys, criminals are genuine guys, and the only enemies are "The Commies", who are ultimately differentiated from the good-guys in that they are emotionally personable, driven by an actual care for their own worth, as shown in the constant tracked-in close-ups that speckle the movie.<br /><br />This movie revolves around characters. The personalities in this film are rather unique and detailed: Skip the pick-pocket who is able to stare down any danger, and sometimes while going through their personal possessions; Moe the informer who is just trying to save up for a spectacular funeral, but who manages to capture the hearts and respect of nearly all the other characters (and the audience); Candy, the ill-named innocent girl who only thinks she's doing government work and doesn't fully comprehend the conspiracy she's involved with; and Joey, the ex-boyfriend evil Commie baddie who is trying to hide everything from everybody and, ironically, is the worst person at doing it. Throw in a bunch of very colorful supporting characters (such as the guy with the chopsticks and the policemen) and "Pickup on South Street" treats you to a splendor of personalities as they hunt down the mysterious and accidentally stolen microfilm frames.<br /><br />--PolarisDiB<|endoftext|>