Pushover

Streamlined andbrisk,Richard Quine'snocturnal 'B' thriller 'Pushover'
remains one ofnoirs lesser-appreciated 'dirty-cop' entries - despite it's
boastingstrong writing,directing, andtwofineleadperformancesfrom
respectively; Fred MacMurray, in a nicecompanion piece tohislustfuldupe
role in Double Indemnity; andfledglingscreensiren Kim Novak,whobrings
asleekmodernity to thenoir vixen.Havingfallen for thebreathtaking
young girlfriend of the vicious bank robber he's assigned to nab,broke
middle-aged cop Paul Sheridan (MacMurray) agrees toput keptdame Leona's
(Novak) suggested plan intomotion - and murder the thugwhen he sneaks
back to collect her, beforemakinghis way with her and the thug's
ill-gotten gains tothe exitfromhis quiet desperation.In the
cleverly-constructedscript (by 'Fugitive'creator Roy Huggins), Sheridan
is the one over-seeing the stakeout of Leona'sapartment - inanticipation
of her man's returnfrombeing on the lam - but as thesecretlovers near
theirgoal they must navigate dangerous waters -populated with Paul's
fellowofficers, their hard-nosedcaptain (an irritating E.G. Marshall),
and theobject of Paul'spartner's affection (Dorothy Malone).A refreshing
anddecidedlymoreromantic variation on the murderouslove-triangle
blueprint - 'Pushover's Paul and Leona appear togenuinely care for one
another.Notsimply a tale ofillicitloversdouble-crossingeach other -
'Pushover's plotconcerns a star-crossed pair's attempt toput one over on
lifeitself – leaving their respective stale existences behind for alife
ofwarmlove andcoldcash – and all to thestrains of Arthur Morton's
maddeningly catchyscore.Never ascenery-chewer, MacMurray quietly shines
inhis role - giving a restrained and authenticperformance. Addled with
bills andcomplexes,his wearyflatfootaches tobreakfree - and with
Leona'sinsistence that .."Money isn'tdirty, just people..", mulls it
over, goesagainsthisbetter judgment, and concludes that the iron's just
hot enough. Complementing MacMurray in herdebutlead role, Novakdelivers
the goods -equalparts beauty andraw talent. Sort of a
'fatale-in-training', her Leona is lessguilty of treachery than of
youthful inexperience - in herscheme to 'rob Peter to pay Paul'.Showing a
realknack fornoir, Quine (who's only othergenre credit is the
passable 'Drive a Crooked Road') keepshiscompositions tight, confining -
andhisstreetsrain-slicked. Hisflat 50'scinematography isperfect for
showcasing the story's late-night dives, back alleys, andshadow-laced
apartments.Released the same year as 'Shield for Murder', 'Rogue Cop',
and 'Private Hell 36', 'Pushover' mayproveto be less memorable than those
more melodramatic 'cop-gone-bad' entries, but Quine's engrossing and
poignant nail-biterdoes not suffer incomparison.