Sam Fuller is a pulpy director, but that's not a problem when it's fun. The issue with Pickup on South Street isn't even necessarily that it isn't fun, I suppose. The problem is that his 1953 "spy" film is just poorly written with character motivation poorly defined and the characters themselves not defined much better. Fuller wrote it himself, so I can't let him off the hook here, but it's still a beautifully shot film and he's responsible for that aspect as well.
This week we're watching Shock Corridor, Sam Fuller's 1963 tale of a so-so journalist's ill-advised plan to get a Pulitzer. It's not as good a movie as his next one, The Naked Kiss, which we watched last week, mostly due to Constance Towers being featured less prominently and in a much more subdued (in a lot of senses) way. We posit that The Naked Kiss is an apology for how she gets treated in this movie.
Anyway, still enjoyable pulpy goodness.
Ever pressing on, we recover from Salo and move on to Sam Fuller's 1964 neo-noir The Naked Kiss, kicking off a duo of back to back Fuller. It's lively and pulpy and fun, due mostly to Constance Towers being a far better actress and Fuller a far better director than this script probably deserves, though Fuller did write it himself. So hopefully our joy in The Naked Kiss isn't just a direct result of having watched Salo directly before.