Sam Fuller: Film Is a Battleground
Some movies revel in frothy entertainment, serving as a soothing escape from the harsh world outside the theater. Iconic filmmaker Sam Fuller rejected any such sentiments as trivialities. His films instead offer two-fisted takes on a grittier reality, one in which flawed antiheroes navigate morally treacherous landscapes beset by duplicitous men and wayward women, guided only by a tarnished conscience. The defining example of this theme remains Pickup on South Street (1953), a noir classic wherein Skip McCoy, a disreputable pickpocket (played with hard-boiled relish by Minnesota's own Richard Widmark) comes into possession of government secrets. Rather than patriotic duty, McCoy's primary motivation is turning a quick profit. McCoy is far from the only Fuller protagonist with a flexible moral code, a fact testified throughout Sam Fuller: Film Is a Battleground, the latest retrospective screening at Trylon microcinema. In addition to the aforementioned film, the series covers provocative crime capers House of Bamboo (1955) and The Crimson Kimono (1959), the gender-redefining Western Forty Guns (1953), fever-dream potboilers Shock Corridor (1963) and The Naked Kiss (1964), and the controversial White Dog (1982), a film notoriously shelved by the studio due to its racially charged subject matter. While Fuller's cinematic tour of life's seedier side might not bloody any actual noses, it's all but guaranteed to set hearts racing. $8. Fridays through Sunday. Visit take-up.org for showtimes. (Pictured: Pickup on South Street)
Fridays-Sundays. Starts: Aug. 3. Continues through Aug. 26, 2012
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