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IMDbPro

El enviado del diablo

Título original: Alias Nick Beal
  • 1949
  • Approved
  • 1h 33min
CALIFICACIÓN DE IMDb
7.1/10
1.7 k
TU CALIFICACIÓN
Ray Milland, Thomas Mitchell, and Audrey Totter in El enviado del diablo (1949)
DramaDrama políticoFantasíaFantasía sobrenaturalFilm NoirHorror sobrenaturalMisterioTerrorThriller

Un fiscal de distrito alcanza el éxito político y la gobernación, pero pierde su sentido de la moralidad una vez que comienza a asociarse con el sombrío y quizás diabólico Nick Beal.Un fiscal de distrito alcanza el éxito político y la gobernación, pero pierde su sentido de la moralidad una vez que comienza a asociarse con el sombrío y quizás diabólico Nick Beal.Un fiscal de distrito alcanza el éxito político y la gobernación, pero pierde su sentido de la moralidad una vez que comienza a asociarse con el sombrío y quizás diabólico Nick Beal.

  • Dirección
    • John Farrow
  • Guionistas
    • Jonathan Latimer
    • Mindret Lord
  • Elenco
    • Ray Milland
    • Audrey Totter
    • Thomas Mitchell
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.1/10
    1.7 k
    TU CALIFICACIÓN
    • Dirección
      • John Farrow
    • Guionistas
      • Jonathan Latimer
      • Mindret Lord
    • Elenco
      • Ray Milland
      • Audrey Totter
      • Thomas Mitchell
    • 42Opiniones de los usuarios
    • 25Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos31

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    Elenco principal94

    Editar
    Ray Milland
    Ray Milland
    • Nick Beal
    Audrey Totter
    Audrey Totter
    • Donna Allen
    Thomas Mitchell
    Thomas Mitchell
    • Joseph Foster
    George Macready
    George Macready
    • Rev. Thomas Garfield
    Fred Clark
    Fred Clark
    • Frankie Faulkner
    Geraldine Wall
    Geraldine Wall
    • Martha Foster
    Henry O'Neill
    Henry O'Neill
    • Judge Hobson
    Darryl Hickman
    Darryl Hickman
    • Larry Price
    Nestor Paiva
    Nestor Paiva
    • Karl
    King Donovan
    King Donovan
    • Peter Wolfe
    Charles Evans
    Charles Evans
    • Paul Norton
    Ernö Verebes
    Ernö Verebes
    • Mr. Cox - Tailor
    • (as Erno Verebes)
    Douglas Spencer
    Douglas Spencer
    • Henry T. Finch
    Arlene Jenkins
    • Aileen - the Fosters' Maid
    Pepito Pérez
    • Poster Man
    • (as Pepito Perez)
    Joey Ray
    • Tommy Ray
    Leon Alton
    Leon Alton
    • Supporter
    • (sin créditos)
    Edward Biby
    Edward Biby
    • Party Guest
    • (sin créditos)
    • Dirección
      • John Farrow
    • Guionistas
      • Jonathan Latimer
      • Mindret Lord
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios42

    7.11.6K
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    Opiniones destacadas

    simonstudios

    Forget Double Indemnity - for me, this is the quintessential film noir

    Forget Double Indemnity - for me, this is the quintessential film noir. Ray Milland was never better, and all the cast are on top form. The editing's great, and there's not a wasted shot. Some say the ending's a cop out (see other comments for plot details), but it's hard to see how else it could have been done without compromising both the essence, and flavour, of the film.

    I last saw this classic on TV about 15 years ago, and as far as I know it's never been either repeated, or released on video or DVD. WHY???

    If anyone out there's got a recording they'd be willing to copy for me I'd love to hear from them. Maybe we can trade. Thanks.
    9Hup234!

    Offbeat and well-done psychological drama.

    Nick Beal (not his real name) has a haunting way of whistling in the fog, in which he seems at home. It's a symbol of the mystery of the man, which softly, like the fog itself, reveals itself to us. There are absorbing scenes involving Ray Milland's interplays with George Macready, Thomas Mitchell and Audrey Totter, and there is Franz Waxman's soundtrack score, all contributing to the mood of apprehension which prevails throughout in this quiet study of power. Anything said further here would reveal what we soon learn of .... well, of the man who whistles. Highly recommended.
    zippgun

    Otherworldly fantasy meets film noir with Satan as a racketeer

    A rare film-strange considering its many virtues.Ray Milland is perfect as cool diabolical devil in disguise Nick Beal.Thomas Mitchell is a modern Faust who accepts evil methods as a means of becoming Governor (ironically to do good deeds when in office!)Audrey Totter plays an archetypal 40's "dame" splendidly-tough,sexy with pretty elastic principles,but with a conscience under the varnish.This movie is full of great scenes -director John Farrow always gets it just right-I don't think he ever reached these heights again-watch the moment in the apartment where Donna realizes with horror that both she and Foster are saying exactly the words Beal said they would,and the scene where Beal surprises Donna at the station by sliding the cigarette case down the bar.The only real minus for some audiences today is the "studiobound" production,though for me this enhances the claustrophobic "noir" atmosphere of the film.The splendid Franz Waxman score nicely complements the action.
    7AAdaSC

    Pass me some Barbados rum

    Thomas Mitchell (Foster) wants to run for Governor and rid the town of corruption, but corrupt Fred Clark (Faulkner) stands in his way. Enter Ray Milland (Nick Beal). Milland can offer Mitchell what he needs to take power.

    Tony Blair's PR spin-doctor Alastair Campbell is obviously the inspiration for this film. Milland plays the role of domineering adviser to Thomas Mitchell, and Milland gets his way. The cast are all good in this film, with fallen girl Audrey Totter (Donna) getting a special mention – she is funny, intuitive and tragic all at the same time. I thought the film was a bit talky at the beginning but it does seem necessary in order to set the scene. And there certainly is an air of mystery when Milland appears. There are various good scenes, my favourite being when Totter ends up speaking the dialogue that she has just rehearsed with Milland. At first she dismisses Milland for talking nonsense, but there comes a moment when she is with Mitchell and she realizes what is happening. Some of the rehearsed dialogue did not make sense to her when first repeated. But it all fits now. It's well acted and directed and it's the most memorably chilling moment for me. Good direction, effective camera shots and a good music score round out the other film highlights.

    So, if you fancy running for any kind of position of power in the political arena, just remember to carry a bible with you……..or there may be trouble.
    9bmacv

    In this dark, half-forgotten gem, His Satanic Majesty delves into municipal politics

    Rarely spotted on TV even by midweek insomniacs, brushed aside even by aficionados of the Hollywood past, Alias Nick Beal is a top-notch movie that puzzlingly languishes in limbo. It's an unusual but successful cross of the supernatural fantasy films popular in the forties – like Here Comes Mr. Jordan, Heaven Can Wait, The Devil and Daniel Webster – with the grittier conflicts of the big-city exposés in film noir.

    Thomas Mitchell, a progressive and muckraking mayor, won't rest easy until he eradicates corruption from his unnamed town. But incriminating ledgers detailing the graft of a rival political-machine boss have been burned. Mitchell gets a call asking for a mysterious meeting at a waterfront bar, The China Coast Café, where, like a wraith out of the harbor fogs, materializes Ray Milland. Ordering Barbados rum (with its voodooish connotations), he introduces himself as Nick Beal, which seems to be the short Americanization of Beelzebub. He offers Mitchell the pristine ledgers, from which the mayor can nail down a conviction and propel himself to the governor's mansion; trouble is, now he's stuck with the sinister Beal.

    Unflappable in his suavity, Milland stays pitchfork-perfect in his scheme to strip Mitchell of his honesty and ideals. He enlists the help of bar floozie Audrey Totter, who turns herself into Mitchell's Gal Friday and diverts his affections from his wife (and conscience) Geraldine Wall. And every time Mitchell thinks he's compromised his principles for the last time or struck his final dirty bargain, in slithers Milland with another twist of the knife, a brand-new temptation. Finally elected to the statehouse, Mitchell finds that he's sold his soul to the very forces that he had always fought...

    Alias Nick Beal has to be, hands down, the most sure-footed movie John Farrow ever directed; he never slips in sustaining its spectral look or precarious tone. Totter, too, excels in a part that tests her range, from a cat-fighter in a sleazy dive through efficient political aide to repentant cat's-paw. This may be her most fetching performance, particularly in her drunken exchange with a bartender: `What time is it?' `You just asked me that.' `I didn't ask you what I just asked you, I asked you what time it is.' Mitchell and Milland can't be faulted at the top of a cast that includes George Macready as a preacher who can't quite place Milland: `Have you ever had your portrait painted?' he gingerly inquires. `Yes – by Rembrandt in 1655," comes the smug retort. (The screenplay is by Jonathan Latimer, who also penned The Glass Key, Nocturne, They Won't Believe Me, Night Has A Thousand Eyes, and The Big Clock.)

    This morality tale about the seduction and fall of a promising politician echoes themes explored in the same year's All The King's Men but adds a fanciful metaphysical dimension. That may look like a cop-out, a way to avoid tackling the issues realistically, but the metaphysics can be seen as metaphorical – Satan can be a symbol (and as Macready remarks, maybe he knows it's the twentieth century, too). Whatever one's take on The Spirit That Denies, the movie survives triumphantly on its own terms – the splendid and satisfying Alias Nick Beal doesn't deserve the obscurity that has come to enshroud it.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Ray Milland wore the same hat and suit throughout the film, while Audrey Totter had 21 changes of wardrobe.
    • Errores
      (at around 53 mins) The mic and boom shadow can be seen to left of the door as Donna rushes Foster out the door of her apartment.
    • Citas

      Bum: Yes brethren, every word is true. I've walked in the darkness, glory be. I've wrestled the Devil and thrown him. I've pinned his shoulders to the mat. Yes, I've pinned his shoulders to the mat.

      Nick Beal: I wonder if he knows it's two falls out of three?

    • Conexiones
      Spoofed in Papá lo sabe todo: Mister Beal Meets His Match (1958)
    • Bandas sonoras
      A Mighty Fortress
      Written by Martin Luther

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    Preguntas Frecuentes14

    • How long is Alias Nick Beal?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 7 de julio de 1949 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Alias Nick Beal
    • Locaciones de filmación
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Ángeles, California, Estados Unidos(Studio)
    • Productora
      • Paramount Pictures
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      • 1h 33min(93 min)
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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