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Pushover (1954) Directed by Richard Quine

Genre: Crime / Drama / Film Noir

Streamlined and brisk, Richard Quine's nocturnal 'B' thriller 'Pushover' remains one of noirs lesser-appreciated 'dirty-cop' entries - despite it's boasting strong writing, directing, and two fine lead performances from respectively; Fred MacMurray, in a nice companion piece to his lustful dupe role in Double Indemnity; and fledgling screen siren Kim Novak, who brings a sleek modernity to the noir vixen.

Having fallen for the breathtaking young girlfriend of the vicious bank robber he's assigned to nab, broke middle-aged cop Paul Sheridan (MacMurray) agrees to put kept dame Leona's (Novak) suggested plan into motion - and murder the thug when he sneaks back to collect her, before making his way with her and the thug's ill-gotten gains to the exit from his quiet desperation.

In the cleverly-constructed script (by 'The Fugitive' creator Roy Huggins), Sheridan is the one over-seeing the stakeout of Leona's apartment - in anticipation of her man's return from being on the lam - but as the secret lovers near their goal they must navigate dangerous waters - populated with Paul's fellow officers, their hard-nosed captain (E.G. Marshall), and the object of Paul's partner's affection (Dorothy Malone).

A refreshing and decidedly more romantic variation on the murderous love-triangle blueprint - 'Pushover's Paul and Leona appear to genuinely care for one another.

Not simply a tale of illicit lovers double-crossing each other - 'Pushover's plot concerns a star-crossed pair's attempt to put one over on life itself – leaving their respective stale existences behind for a life of warm love and cold cash – and all to the strains of Arthur Morton's maddeningly catchy score.

Never a scenery-chewer, MacMurray quietly shines in his role - giving a restrained and authentic performance. Addled with bills and complexes, his weary flatfoot aches to break free - and with Leona's insistence that .."Money isn't dirty, just people..", mulls it over, goes against his better judgment, and concludes that the iron's just hot enough. Complementing MacMurray in her debut lead role, Novak delivers the goods - equal parts beauty and raw talent. Sort of a 'fatale-in-training', her Leona is less guilty of treachery than of youthful inexperience - in her scheme to 'rob Peter to pay Paul'.

Showing a real knack for noir, Quine (who's only other genre credit is the passable 'Drive a Crooked Road') keeps his compositions tight, confining - and his streets rain-slicked.

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