Du plomb pour l'inspecteur

PUSHOVER is an underrated, little known crime melodrama from the mid-'50s that introduced the blonde beauty of KIM NOVAK to audiences and gave FRED MacMURRAY another chance to play an authority figure seduced by the charms of a femme fatale. When the story begins, it turns out his accidental meeting with Novak was really a set-up, he being a cop assigned to keep track of her whereabouts after a bank hold-up results in the death of a police officer.

He suspects that her mobster boyfriend pulled the job and at first resists when she tries to convince him they can use the bank money for themselves. But eventually, he weakens and before you know it he's informing her that her phone is wire tapped and the two of them are just one step ahead of the police for the rest of the film.

PHIL CAREY, as a fellow officer and E.G. MARSHALL as the lead detective are excellent in supporting roles, as is DOROTHY MALONE in a pivotal role as a girl occupying the apartment next to Novak in a U-shaped building that enables MacMurray and Carey to keep an eye on both gals through binoculars (shades of REAR WINDOW).

Conveniently, no one ever draws the blinds in these sort of thrillers and spying is made so easy for the sake of plotting, as the 24-hour surveillance occupies much of the story. The noir elements are present throughout, the dark rainy streets, the shadowy photography during car chases, the clipped delivery of lines, the murder scheme gone awry, the femme fatale angelic on the outside, bad within.

But somehow it never becomes a major film noir, relegated to its place in obscurity over the years and not really a title that pops up when one speaks of film noir--but it does qualify as noir, on a minor scale, and it's given some taut direction and tight suspense by director Richard Quine.

Kim is as easy as ever on the eyes although a bit robotic in her acting technique and never quite convincing as a mobster's moll. MacMurray has a less interesting, more one-dimensional role as a cop corrupted by beauty.

All in all, definitely worth watching.

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.

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.

It's Fred MacMurray again, as a virtuous agent for the causes of good. Instead of playing an insurance salesman with an eye for the fast buck, here he's playing a cop assigned to shadow Novak, the mobster's moll. Kim Novak is as beautiful as she's ever appeared on the screen. The lighting in her early scenes is as dramatic and sensual as it can be. Who wouldn't fall in love with her? Comparisons with Double Indemnity just can't be ignored. She is the vamp that Barbara Stanwyck could never be. She's softer and more feminine in that 50's style, and less hard-edged than Stanwyck, which makes her much more dangerous. Novak's generally wooden acting style & "flat affect" gives way to a softer sex-kitten demeanor. MacMurray's character is a more active participant in the events that unfold than in "DD", where he seemed to get his courage and strength from Stanwyck's cold & calculating personna. Billy Wilder could have made this a masterpiece, but even without the guidance of the master's hand, this one is definitely well-worth watching.

Enjoyed this great classic film from 1954 starring Fred MacMurray, (Paul Sheridan) who is a detective and gets involved with Lona McLane,(Kim Novak) who is connected with a bank robber and Lona cons Paul to kill her boyfriend so they can take the money for themselves. The only problem is that Paul Sheridan is assigned to watch Lona on a stake out with other detectives and have her apartment watched and her telephone wires tapped. There are many problems that face Paul and Lona and one of Paul's detective friends gets involved with a girl named Ann Stewart, (Dorothy Malone) who lives in the same apartment house as Lona and lives down the hall. This story becomes quite exciting as a crooked cop tries to cover his tracks and makes mistakes after mistakes. Don't miss this Classic it is great with outstanding acting and a great cast of actors. Enjoy.