It'd be fun to map out the apartment, and who is where - and whose presence is assumed to be here (or there) by proxy, i.e. by telephone, police radio, or shift-times. It's endlessly fascinating to me that a narrative can be eked out by only rigorously controlling the movement of characters within a limited matrix of spaces (of action).
Oh, I'm the exception to the rule here. Cliches and flaws abound in this film. Perhaps unfair to compare it to Double Indemnity or Rear Window, but those flicks were made by two great directors who had style and originality. There's a pulse to Pushover, but not much life. Hate to be a nayesayer, but there it is, folks.
Is it derivative of Double Indemnity? Sure it is, but I’m not claiming that it’s at the same level as that masterpiece. But I stand by the contention that this one has been unfairly cast aside precisely because of the Double Indemnity similarity despite the fact that it, IMO, ranks among the best 50-60 noirs ever made. A great film and now easily available from Columbia Film Noir Classics II.
Could be read as a critique of the innate misogyny of the crime genre and noir mode, as the film literally telescopes the female as spectacle and fetish while commenting ("You get out of a sweater what you put into it!") under male schema of control, but the destabilizing forces are, as always, tamed by the establishment of the domestic couple. Still, such a crystallization, embodiment of themes is recommendable.
Ten years after "Double Indemnity" Fred MacMurray is still a sucker for the blonds, this time Kim Novak, who recruits the dumbstruck cop to kill her boyfriend and steal his loot. Solid studio bound Columbia noir, well plotted and tense, despite the obvious ending.