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Pushover (1954)

Approved | | Crime, Drama, Film-Noir | 6 August 1954 (USA)
A larcenous undercover cop falls for the beautiful moll of a bank robber on the run and together they double-cross the hood nd the cops.

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(screenplay), (novel) | 1 more credit »
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Cast

Complete credited cast:
...
Paul Sheridan
...
Rick McAllister (as Phil Carey)
...
Lona McLane
...
Ann Stewart
...
Police Lt. Carl Eckstrom
Allen Nourse ...
Paddy Dolan
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Storyline

A bank heist yields $210,000. Soon, sultry Lona McLane, girlfriend of one of the robbers, meets Paul Sheridan and has a torrid affair. When she finds out Paul's a cop, to save herself she sets out to corrupt him. He's a pushover. But it won't be easy for Paul to get his hands on the money when he's part of a complex, peeping-tom stakeout. Soon, he's in much deeper than he'd planned, amid atmospheric night scenes. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

The Suspense Drama of the Year! See more »


Certificate:

Approved | See all certifications »
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Details

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Release Date:

6 August 1954 (USA)  »

Also Known As:

322 French Street  »

Box Office

Budget:

$400,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The movie showing at the theater at the beginning of the movie is The Nebraskan which Philip Carey starred in the year before. See more »

Goofs

As in "Double Indemnity", although Fred MacMurray's character is not married, he wears a wedding ring throughout the film. See more »

Quotes

Rick McAllister: New car, mink coat, no clocks in the joint... probably the story of her life.
Paul Sheridan: You just don't like women, Rick.
Rick McAllister: What keeps you single?
Paul Sheridan: Maybe I like 'em too much.
Rick McAllister: I've seen all kinds since we joined the force... B-girls, hustlers, blackmailers, shoplifters, drunks. You know, I think I'd still be married if I could find a half-honest woman. Must be a few of 'em around.
Paul Sheridan: Watch yourself! Those few might just be smarter!
See more »

Crazy Credits

And Introducing Kim Novak See more »

Connections

Featured in Los Angeles Plays Itself (2003) See more »

Soundtracks

There Goes That Song Again
Music by Jule Styne (uncredited)
Played by duo pianists at the cocktail lounge
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User Reviews

 
Noteworthy for the film debut of Kim Novak...tight suspense...
17 January 2007 | by (U.S.A.) – See all my reviews

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.


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