Un pacte avec le diable

Alias Nick Beal (AKA: A few other titles...) is directed by John Farrow and adapted to screenplay by Jonathan Latimer from the Mindret Lord story. It stars Ray Milland, Audrey Totter, Thomas Mitchell and George Macready. Music is by Franz Waxman and cinematography by Lionel Lindon.

It's the Faustian legend filmed through film noir filters as Thomas Mitchell's politician unwittingly makes a deal with Ray Milland's suspicious Nick Beal.

Nicholas Beal - Agent.

It's all fogs, smogs and smoky pubs here, it's 1949 and John Farrow and his team are having a great time of things blending Faust with politico machinations. Narrative thrust comes by way of corruption and character disintegration, sprinkled naturally with your good old cinematic staple of good versus evil in bold type.

Don't touch him! He doesn't like it!

Milland is superb here, his Nick Beal is the ultimate Machiavellian Mannipulator, and the chief film makers really bring these traits to the fore. Beal is a bundle of smug grins and glinting eyes, he just appears in scenes, Farrow cunningly using various props and persons to suddenly unleash his little old devil when he is least expected. Around Nicky there are subtle changes of clothes and snatches of dialogue that hit the requisite devilish notes, Totter is our darling who is caught in Old Nick's trap, Mitchell (great) even more so.

The last time I was here was quite exciting. City was on fire. Picked up quite a lot of recruits that night. Made quite a transportation problem.

Lionel Lindon and Franz Waxman are also key components to what makes the pic work. Waxman (Sunset Blvd.) deftly shifts between big bass drums for thunder clap effects, to delicate swirls that give off other worldly - eerie - effects. Lindon (I Want to Live!) does great work isolating the eyes in light, while his fog and shadows work wouldn't be amiss in a Val Lewton picture.

This is a criminally under seen movie, it's far from perfect because the collage of genre influences give it a very unbalanced feel, but there's so much fun, spookiness and technical craft on show to make it a must see movie for fans of the stars, noir and supernatural tinged pictures. 8/10

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.

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.

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.

The Faust legend gets yet another retelling in modern post war America with Thomas Mitchell as an honest District Attorney looking for evidence to convict a racketeer. A conviction in this case will propel him to higher office.

Into the story walks a gentleman named Nicholas Beal played with intensity by Ray Milland. The account books supposedly destroyed Milland says he can produce and produce them he does. Of course Mitchell is grateful and Milland becomes part of his inner circle.

With Mitchell now being talked about for the governorship, Milland incurs the mistrust of all around him including Mitchell's wife Geraldine Wall and the Reverend George MacReady. MacReady who himself has played many a sinister character on the big and small screen knows sinister when he sees it. In fact he's the first to recognize Milland for what he is.

When a man's influence doesn't work Milland plants Audrey Totter in Mitchell's circle. This is a whole lot like the way Ray Walston used Gwen Verdon to get at Tab Hunter in Damn Yankees. Only this is far more serious.

Ray Milland who before The Lost Weekend played all kinds of light parts was now getting heavier dramatic fare in his career and handling it most successfully. He's probably at his most menacing on the screen in Alias Nick Beal.

As for Mitchell for once he didn't die on the screen. Years ago I had a teacher who said that Thomas Mitchell had to have the record for screen deaths in major motion pictures. Although I can think of a few in addition to this one like Stagecoach and It's A Wonderful Life where he lived until the final end credits, I think the man that taught me might have had something. Mitchell is fine as a man desperately trying to do the right thing and having to contend with his own ambitions at the same time.

Paramount normally did not go in for noir films, but in this case they produced one with classic satanic overtones. In the end Milland makes a rather interesting confession as the film ends. It explains his attitude and his character.

I'd make it a point to check it out.