Another reviewer complained that this wonderful, moody and atmospheric film about heroin addiction was too "dreary.." I have to laugh at some of the comments I read here. New York City, circa 1958; a heroin kingpin sets up shop, and sets himself up in a posh penthouse apartment on Riverside Drive. His customers are mostly kids, many of them Puerto Rican immigrants looking to find their place in a new city, and they get hooked on the smack that Mario supplies them. Things start to get out of control when a Police Lieutenant's daughter gets hooked, while working at a shady nightclub in Midtown. The pusher himself, played by Felice Orlandi, is suitably sleazy and heartless, as he feeds off of the young people in the area, making himself rich while destroying their lives in the process. This film is remarkably realistic in it's depiction of both the business aspect and the addiction aspect of the drug culture. Beautifully filmed in shadowy, stark black and white, with New York City on display in all it's old time glory. Of course it's "dreary," and seedy, and downbeat. This title is very rare and i imagine a copy must be a real collectors item. It reminded me of the New York beat/jazz scene described in Kerouac's "On the Road," so much so, that I half expected William Burroughs to appear in one of those seedy Times Square bars shown in this film. This is a wonderful, lost movie that should be easier to find. Similar to "Hatful of Rain," another early 60's NYC heroin movie, although this one is better. "The Pusher" would make a great double feature with "Who Killed Teddy Bear," which is another 1960's study of the seedy underbelly of New York's times Square scene. A lost gem...
9 Reviews
Good B Film Noir with Great Location Shots
ldeangelis-7570827 December 2023
I had never heard of this movie before, and I'm glad I checked it out. As a native New Yorker, I love seeing the location shots from the early 60's around East Harlem, Central Park and other places. Some changes since then, but some things are the same.
The same can be said for the theme of the movie, the sad reality of drug addiction. Some things never change, though opioids are now the fashion, rather than main lining heroine. Either way, it's just as pathetic.
Both Steve Lansing and Douglas Rogers do good acting jobs as police officers who go after the pusher that's supplying young people, including Laura (Kathy Carlyle), the daughter of one and fiancée of the other.
Ms. Carlyle gives a powerful performance as she goes through the stages of withdrawal, you really feel her suffering, as she's desperate for another fix of what she started taking as "headache medicine", or so she was told.
Felice Orlando is another good actor, as the evil but charming pusher, and Sara Ammon is also very good as Maria, the nightclub dancer/junkie who falls under his spell and helps cause her kid brother's death.
There are some exciting scenes involving Lansing and Rogers, who go after Orlando, risking their lives more than once.
As so often happens, there are familiar faces from TV: John Astin (in his first film role, pre "Addams Family') and David Ford, who fans of "Dark Shadows" will recognize as Sam Evans.
Worth watching.
The same can be said for the theme of the movie, the sad reality of drug addiction. Some things never change, though opioids are now the fashion, rather than main lining heroine. Either way, it's just as pathetic.
Both Steve Lansing and Douglas Rogers do good acting jobs as police officers who go after the pusher that's supplying young people, including Laura (Kathy Carlyle), the daughter of one and fiancée of the other.
Ms. Carlyle gives a powerful performance as she goes through the stages of withdrawal, you really feel her suffering, as she's desperate for another fix of what she started taking as "headache medicine", or so she was told.
Felice Orlando is another good actor, as the evil but charming pusher, and Sara Ammon is also very good as Maria, the nightclub dancer/junkie who falls under his spell and helps cause her kid brother's death.
There are some exciting scenes involving Lansing and Rogers, who go after Orlando, risking their lives more than once.
As so often happens, there are familiar faces from TV: John Astin (in his first film role, pre "Addams Family') and David Ford, who fans of "Dark Shadows" will recognize as Sam Evans.
Worth watching.
87th Precinct
boblipton11 April 2020
It's a tough look at the grimy side of New York, as the detectives of the 87th Precinct try to crack down on the drug trade.
It's based on Evan Hunter's '87th Precinct' series of novels. with the screenplay written by Harold Robbins. It's got a score by the great Raymond Scott, that varies from jazz to movie bombast -- I don't think it quite works, but you may reasonably disagree. Robert Lansing plays the same character he would in the 1961-1962 TV series, and if you look hard, you may recognize John Astin as one of the detectives in the background.
It's certainly worthy of approval of the tough realism of New York's street and worthy of your at
It's based on Evan Hunter's '87th Precinct' series of novels. with the screenplay written by Harold Robbins. It's got a score by the great Raymond Scott, that varies from jazz to movie bombast -- I don't think it quite works, but you may reasonably disagree. Robert Lansing plays the same character he would in the 1961-1962 TV series, and if you look hard, you may recognize John Astin as one of the detectives in the background.
It's certainly worthy of approval of the tough realism of New York's street and worthy of your at
Unpretentious, objective film about drugs' impact
adrianovasconcelos21 January 2024
Gene Milford did not build a household name, even in the realm of B productions like THE PUSHER . I have not seen anything else done by him, but THE PUSHER deserves above average rating.
One curiosity is that 1958 is the year that appears in the opening credits, but IMDB makes it 1960. Was in production for two years? It looks so shoestring that I doubt it, to be honest.
Albeit offering a generally realistic view of New York between those years, the film opens by introducing you to Lt Byrne, his wife, his daughter Laura, and the latter's boyfriend, Steve, also a copper. All, law abiding, all likable... but you discover very rapidly that Laura begins to stray, taking drugs on the quiet. She knows what she is doing, the dangers involved, the impact on her father and boyfriend, and she is convinced she can kick the habit but she just keeps diving deeper into it, getting her stuff from "Ganzo", another name for the pusher, who is very credibly played by prim and proper looking Felice Orlandi.
Of course, moral and family issues rise to the surface, and Lt Byrhe becomes extremely interested in the case when he gets what is happening with Laura and helps her with cold turkey treatment.
It makes you think that by 1958/1960 drug trafficking still seemed a minor and relatively containable problem, and yet since then even the finest police force in the world, US Police, has not managed to reduce it significantly, let alone stop it. And with new drugs being engineered full time, like crack, ecstasy, fentanyl, and all the rest of it, the common citizen has become more and more a target for the panoply of pushers, sellers, and others keeping that infamous trade ticking.
Sadly, by the time this well-meaning, honest film wrapped up, I could only think that mankind heeds no warning, however clear, and in the long run it is condemning itself to extinction for the sake of enriching drug lords.
Strong B noir photography by Arthur Ornitz, credible screenplay by Evan Hunter. 7/10.
One curiosity is that 1958 is the year that appears in the opening credits, but IMDB makes it 1960. Was in production for two years? It looks so shoestring that I doubt it, to be honest.
Albeit offering a generally realistic view of New York between those years, the film opens by introducing you to Lt Byrne, his wife, his daughter Laura, and the latter's boyfriend, Steve, also a copper. All, law abiding, all likable... but you discover very rapidly that Laura begins to stray, taking drugs on the quiet. She knows what she is doing, the dangers involved, the impact on her father and boyfriend, and she is convinced she can kick the habit but she just keeps diving deeper into it, getting her stuff from "Ganzo", another name for the pusher, who is very credibly played by prim and proper looking Felice Orlandi.
Of course, moral and family issues rise to the surface, and Lt Byrhe becomes extremely interested in the case when he gets what is happening with Laura and helps her with cold turkey treatment.
It makes you think that by 1958/1960 drug trafficking still seemed a minor and relatively containable problem, and yet since then even the finest police force in the world, US Police, has not managed to reduce it significantly, let alone stop it. And with new drugs being engineered full time, like crack, ecstasy, fentanyl, and all the rest of it, the common citizen has become more and more a target for the panoply of pushers, sellers, and others keeping that infamous trade ticking.
Sadly, by the time this well-meaning, honest film wrapped up, I could only think that mankind heeds no warning, however clear, and in the long run it is condemning itself to extinction for the sake of enriching drug lords.
Strong B noir photography by Arthur Ornitz, credible screenplay by Evan Hunter. 7/10.
Simplicity is your hell and heaven.
daviuquintultimate14 March 2024
B-movies are sometimes envisaged as an inferior kind of films. No, it means that the production costs are not as elevated as A-movies. If a star actor gets, say, 1 million dollars for a movie, well, some films (without stars) were made with an overall expenditure of less than 1 million. Now, I don't really care about production's costs, and some B-movies are better than the more high-class ones (not this one, I must say).
The strong positive values of "The Pusher", in my opinion, are the well-defined plot, without any confusing sub-plots or blurred images and shots that let you quite uncertain about what has really happened, and the consequent linear execution of it. This is also a detrimental point, because when you reach minute 16th (of the overall 82), you will know exactly how will the narrative develop.
No thrills, consequently, but if you are a lover of the genre you will enjoy this film. I rated it 6; let's say, more precisely, 6 and a half.
The strong positive values of "The Pusher", in my opinion, are the well-defined plot, without any confusing sub-plots or blurred images and shots that let you quite uncertain about what has really happened, and the consequent linear execution of it. This is also a detrimental point, because when you reach minute 16th (of the overall 82), you will know exactly how will the narrative develop.
No thrills, consequently, but if you are a lover of the genre you will enjoy this film. I rated it 6; let's say, more precisely, 6 and a half.
Dreary drug-themed melodrama with good locations
goblinhairedguy23 July 2007
This low-budget, independent picture's most significant point of interest is its writing pedigree -- it's based on a novel by hard-boiled favorite Ed McBain, with a screenplay by the best-selling novelist Harold Robbins. This contributes to a very schizophrenic result. The influence of the former is obvious in the police procedural framework, with some interesting shot-on-location scenes in Spanish Harlem and other NYC locales. The latter's heavy hand is apparent in the overblown melodramatic scenes which especially mar the last couple of reels.
The story concerns a police detective who, while investigating the apparent suicide of a young Puerto Rican heroin addict, discovers that his middle-class daughter is involved in the same underworld. The parallels/contrasts between the white-bread girl and the poverty stricken ethnic types gives this exposé its main social significance -- presaging similar scenes in much more accomplished films like "Traffic". But of course, the good-girl-gone-bad scenario was a staple of old-time exploitation pix way back in the days of silent movies and Dwain Esper.
Unfortunately, the filmmakers, though competent enough for the most part, really have no sense of style or tension, and the film just staggers monotonously from sequence to sequence. It only comes to life during the scenes with a feisty Latin cabaret dancer (the boy's sister), and in the character of the slick pusher who lures the girls into a life of addiction and takes advantage of them in his Playboy-style bachelor pad. Though the subject matter was probably sensational at the time, most modern viewers will find the dramatic scenes clichéd and unsubtle, and the action scenes clumsy. The jazzed-up version of "Billy Boy" that reverberates on the soundtrack is a futile attempt at hipness.
The director was a top-notch Hollywood editor, but this was his only session at the helm of a movie. Watch for some absurdly intense, method-style emoting by the young actors playing gang members.
The story concerns a police detective who, while investigating the apparent suicide of a young Puerto Rican heroin addict, discovers that his middle-class daughter is involved in the same underworld. The parallels/contrasts between the white-bread girl and the poverty stricken ethnic types gives this exposé its main social significance -- presaging similar scenes in much more accomplished films like "Traffic". But of course, the good-girl-gone-bad scenario was a staple of old-time exploitation pix way back in the days of silent movies and Dwain Esper.
Unfortunately, the filmmakers, though competent enough for the most part, really have no sense of style or tension, and the film just staggers monotonously from sequence to sequence. It only comes to life during the scenes with a feisty Latin cabaret dancer (the boy's sister), and in the character of the slick pusher who lures the girls into a life of addiction and takes advantage of them in his Playboy-style bachelor pad. Though the subject matter was probably sensational at the time, most modern viewers will find the dramatic scenes clichéd and unsubtle, and the action scenes clumsy. The jazzed-up version of "Billy Boy" that reverberates on the soundtrack is a futile attempt at hipness.
The director was a top-notch Hollywood editor, but this was his only session at the helm of a movie. Watch for some absurdly intense, method-style emoting by the young actors playing gang members.
Pretty realistic for 1958/1960.
planktonrules27 December 2023
For some reason, "The Pusher" sat on the shelf for two years until it was finally released to theaters. I have no idea why, as usually this means the film is terrible...but there's nothing terrible about this movie. It's excellent...and holds up well all these years later.
The story is about a particularly vicious drug dealer. Not only does he sell heroin, but he doesn't like to leave any loose ends...which means he's more than happy to kill anyone...even his own clients or a cop! The problem is that the detective investigating doesn't realize that his own fiancee is one of the killer's clients. To make it worse, her father is a police lieutenant! Can the cops manage to notice that their lead to the killer's identity is right there in front of them?!
While the film is very realistic in depicting drug abuse, it's not a film noir movie. It focuses more on realism as opposed to sensationalism. Well worth seeing and never dull.
By the way, this film is John Astin's movie debut. He is only briefly seen near the beginning of the picture and barely says anything. I guess they had no idea he'd one day be a star.
The story is about a particularly vicious drug dealer. Not only does he sell heroin, but he doesn't like to leave any loose ends...which means he's more than happy to kill anyone...even his own clients or a cop! The problem is that the detective investigating doesn't realize that his own fiancee is one of the killer's clients. To make it worse, her father is a police lieutenant! Can the cops manage to notice that their lead to the killer's identity is right there in front of them?!
While the film is very realistic in depicting drug abuse, it's not a film noir movie. It focuses more on realism as opposed to sensationalism. Well worth seeing and never dull.
By the way, this film is John Astin's movie debut. He is only briefly seen near the beginning of the picture and barely says anything. I guess they had no idea he'd one day be a star.
Narcotics in the Early 60's
Uriah4311 February 2019
This film begins with a young man being found dead in a clubhouse by what appears to be suicide. At the same time, however, the police also find a hypodermic syringe near his body which puts things in doubt pending an autopsy. Sure enough, the subsequent autopsy reveals that the victim had injected a high concentration of heroin and since his death is now ruled as an overdose the detective in charge of the case "Lt. Peter Byrne" and his partner "Steve Carella" begin to direct their efforts to finding the pusher who supplied him. Meanwhile, the detective's daughter "Laura Byrne" has been behaving slightly different the last few weeks which Lt. Byrne initially concludes is due to her upcoming marriage to her fiancé-Steve Carella. What neither the detective nor Steve know, however, is that Laura has recently become addicted to heroin and she gets her drugs from the same person the police are looking for. Now rather than reveal any more I will just say that this film turned out to be slightly better than I had expected due in large part to the overall gloomy atmosphere and the subject matter at hand during this particular time-period. Yet at the same time, there were a couple of scenes which I thought were overly simplistic and lacked the necessary realism. But by and large I thought that this was a decent film for the most part and for that reason I have rated it accordingly. Average.
Dreary Is the Word!
JohnHowardReid15 December 2012
Warning: Spoilers
This film seemed to have some ready-made points in its favor, but alas almost all of them come to zilch. First of all, it's the only movie of any shape or form directed by ace Hollyweood film editor, Gene Milford. It's also the only film he produced. Secondly, it's one of only two movies in which Kathy Carlyle appeared. (She had a small role in a 1958 Charles Bronson "B" entitled "When Hell Broke Loose"). This time she's top billed. Thirdly, it's screenplayed by Harold "The Carpetbaggers" Robbins of all people from the 1956 novel by Ed McBain (Evan Hunter/Salvatore A. Lombino). Unfortunately, Mr Robbins does little justice to the novel. Milford's super-slow pacing and direction doesn't help either. Admittedly, he is hampered by a pretty charmless cast. And even Arthur Ornitz's photography seems weighed down by the general ineptitude.
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