“Pushover” (1954) is a film noir, skillfully directed by Richard Quine, and adapted for the screen by Roy Huggins. The story is based on two separate novels, “The Night Watch” by Thomas Walsh and “Rafferty” written by Lester White. The quick developing story revolves around a bank robbery that takes place during the opening credits, masterminded by gangster Harry Wheeler (Paul Richards). Wheeler has a young girlfriend, Lona (Kim Novak), who the police are watching carefully. In fact, Lieutenant Eckstrom (E.G. Marshall) has sent in Detective Paul Sheridan (Fred MacMurray) to get to know her more “intimately”. Sheridan quickly falls for Lona, and it doesn’t take much convincing (once she figures out he is a cop) for the two to conspire to kill Wheeler and run off with the $200,000 in robbery money. The problems arise when Sheridan is seen in Lona’s apartment by a neighbor (Dorothy Malone), who happens to be the voyeuristic object of affection of Sheridan’s partner (Philip Carey). Sheridan’s plan also runs into a few problems when another police officer (Allen Nourse) figures out that Sheridan has more on his mind than just law and order.
When watching “Pushover”, one can’t help but make comparisons to “Double Indemnity” (1944). Obviously they both star MacMurray, but even with a different actor, the plots would still seem similar, with the attractive “bad girl” convincing the upright man to kill for love and/or money. “Pushover” is nowhere near the same calibre of film as “Double Indemnity”, but it’s unfair to compare any film to the greatness of “Double Indemnity”. The truth is, all the faults of “Pushover” are forgivable. It runs a fast 88 minutes, which doesn’t leave enough time to develop things properly. The result is a “love” motivated story that feels more like one about sex, attraction, and a love of money than actual love. In fact all the characters are enigmas, hiding their true feeling from the audience. Everything is kept in the dark when it comes to the motivations of pretty much everyone, and in the final reel we are expected to believe whatever happens, and just take it at face value. Richard Quine directs this film with a skill that benefits the plot holes. He keeps things moving with excitement and suspense, so that the audience doesn’t even have time to start asking questions, or even trying to understand which relationships are real. It’s only later that you can look back and start to really think about what you watched.
I don’t typically have a problem with young actresses and their on-screen romances with older men, but in “Pushover” I had a difficult time believing that these two leading players had any real spark between them. Don’t get me wrong, each plays their individual roles perfectly, but together they seem to be on different pages. Novak was only 21 when “Pushover” was released, while MacMurray, 25 years her senior, was almost 46. A different casting choice (for either part) would have fared well.
With so many film noir’s in the 1940’s and 1950’s, some of the smaller ones can get lost in the shuffle. “Pushover” falls somewhere in the middle, where overall quality is concerned, but because of an almost unexplainable entertainment, it ends up in the category of “worth watching”- it just could have been better.