Pushover

Pushover is directed by Richard Quine and adapted to screenplay by Roy Huggins from stories written by Bill S. Ballinger and Thomas Walsh. It stars Fred MacMurray, Phillip Carey, Kim Novak, Dorothy Malone and E. G. Marshall. Music is scored by Arthur Morton and cinematography by Lester White.

Straight cop Paul Sheridan (MacMurray) is on the trail of the loot stolen in a bank robbery where a guard was shot and killed. He is tasked with getting to know Lona McLane (Novak), the girlfriend of the chief suspect in the robbery. But once contact is made, and surveillance set up over the road from her apartment complex, Sheridan begins to fall in love and lust with the sultry femme.

Comparisons with the superior Double Indemnity are fair enough, but really there is enough here, and considerable differences too, for the film to rightfully be judged on its own merits. Also of note to point out is that one or two critics have questioned if Pushover is actually a film noir piece? Bizarre! Given that character motives, destinies and thematics of plot are quintessential film noir.

A good but weary guy is emotionally vulnerable and finds his life spun into a vortex of lust, greed and murder. Yet the femme fatale responsible, is not a rank and file manipulator, she too has big issues to deal with, a trophy girlfriend to a crook, she coarsely resents this fact. The cop who never smiles and the girl who has forgotten how too, is there hope there? Do they need the money that has weaved them together? What does that old devil called fate have in store for them? Classic noir traits do pulse from the plot. True, the trajectory the pic takes had been a well trodden formula in noir by the mid fifties, where noir as a strong force was on the wane, but this holds up very well.

It isn't just a piece solely relying on two characters either, there's the concurrent tale of Sheridan's voyeuristic partner Rik McAllister (Carey), who has caught the eye of Lona's next door neighbour, Ann Stewart (Malone). Both these characters operate in a different world to the other two, yet the question remains if a relationship can be born out from such shady beginnings? The presentation of relationships here is delightfully perverse. The visual style wrung out by Quine (Drive a Crooked Road) and White (5 Against the House) is most assuredly noir, with 99% of the film set at night, with prominent shadows, damp streets lit by bulbous lamps and roof top scenes decorated sparsely by jutting aerials. The L.A. backdrop a moody observer to the unwrapping of damaged human goods.

Cast are very good, all working well for their reliable director. Novak sizzles in what was her first credited starring role, she perfectly embodies a gal that someone like Paul Sheridan could lose his soul for. MacMurray is suitably weary, his lived in face telling of a life lacking in genuine moments of pleasure. Carey, square jawed, tall and handsome, he is the perfect foil to MacMurray's woe. Malone offers the potential ray of light trying to break out in this dark part of America, while Marshall as tough Lieutenant Eckstrom and Allen Nourse as a copper riding the noir train to sadness, score favourably too.

It opens with a daylight bank robbery and closes in true noir style on a cold and wet night time street. Pushover, deserving to be viewed as one of the more interesting 1950s film noirs. 8/10

Very few would regard this as a classic Noir but thanks to Richard Quine's taut direction it does what it has to do in the space of a little less than ninety minutes and pretty well fulfils the promise of its excellent opening scene.

The voyeuristic element anticipates 'Rear Window' whilst comparisons, albeit rather tiresome, have inevitably been made with 'Double Indemnity', solely because Fred MacMurray again plays a sap. This minor opus cannot of course hold a candle to Wilder's masterpiece and here the femme fatale of Kim Novak is an unwitting one whose blonde hair is her own.

Mr. MacMurray has been unfairly disparaged by some IMDb members who evidently cannot recognise a good actor when they see one. Although appearing to be the acme of affability he was at his most effective when playing against type, which is certainly the case here.

There is excellent support from stalwart E. G. Marshall, mucho macho Philip Carey and appealing Dorothy Malone. This marks the first speaking role for Kim Novak and already she has that elusive air which the camera adores. If you are as much of a pushover for Miss Novak as I, then this film is a must.

In Pushover Fred MacMurray dusts off his acclaimed portrayal of Walter Neff the luckless insurance agent from Double Indemnity and gives him a badge as an easily corruptible cop. The temptation in his path is another dame, in this case Kim Novak being 'introduced' in this film as Columbia's answer to Marilyn Monroe.

MacMurray's a cop who is assigned to get close to gangster Paul Richards's moll Novak. Richards and his mob have pulled off a bank heist and if they had any sense, they'd be out of the country and fleeing. But police captain E.G. Marshall reasons that Richards ain't going nowhere without Novak.

Of course what he doesn't figure on MacMurray's libido as well as Richards. Novak's one cool ice princess in this one, she's willing to spend the loot with one crook as another and one with a badge sounds pretty good to her.

There's a side romance going as well with Novak's neighbor, nurse Dorothy Malone and fellow officer Philip Carey. Malone gets innocently caught up in the intrigue. Carey while doing surveillance on Novak's apartment gets to peeping in on Malone next door. His little Rear Window act pays off in the end.

Pushover is a fine noir drama and highly recommended for those who like myself know full well that Fred MacMurray is capable of a lot more than Disney films and My Three Sons which I think most know him for today. Novak makes a stunning debut as the ultimately luckless moll and the rest of the cast backs them up with a splendid ensemble effort.

Don't read the reviews comparing it to other films before watching it on it's own merits, which are many. A damn fine Noir which isn't beholding to any other.

IMDb requires ten lines of text, but instead of impressing you with my opinions, I'll do this:

Kim Novak is stunning physically and memorable performance wise.

Fred Mc Murray is excellent on the northern-edge of his leading man days.

The first 3 minutes are perfect.

Really, the first 3 minutes make it worth watching.

LA at night, the land that built noir.

See it. Trust me.

This film is especially notable as being the first film of Kim Novak. She is already a sizzler, from her very first scenes. The camera loves her, and her career from this point on was inevitable. It was only the next year that she set all the men of America afire by her sensuous role in Bill Inge's 'Picnic', opposite William Holden. High cheekbones never hurt a gal in films, and as Kim Novak must be of Czech descent judging from her name, we have here the classic Slav look. It wasn't long before 'Vertigo' and by then, Kim Novak had become an icon, which she remains to this day. Fred MacMurray is the leading man in this film, excellent as usual but really too old for someone like Novak to fall in love with at first sight as called for in this story. Oh well, that's casting for you. Dorothy Malone appears in this as a sweetie. The film is gripping, at the tail end of noir, a mixture of crime, cops, and mystery. The post-War mood of sombre brooding is ending, things are lightening up a bit, and crime and corruption are no longer seen as an intrusive Dark Hand of Doom but as eruptions into daily life of natural human impulses of greed, lust, and evil, which are as spontaneous as barbecues are in summer in Texas. These things 'just happen', and an end of the world scenario of being engulfed by wickedness is now seen more prosaically as 'oh no, not another crook and another crime!' As crime keeps on happening, you kind of get used to it, and films like this take on an air of 'here we go again'. So it is no longer brooding atmosphere but gripping intrigue which makes the movies work by the mid-1950s.