Un pacte avec le diable

This strange story of an honest crime-fighting district attorney certainly has several haunting moments. They involve a dark stranger who has the uncanny ability to appear and disappear at precisely the right moments. This suave, eerie gentleman offers vital evidence to our honest DA against a highly corrupt criminal - that would allow him to be put away forever. No self-respecting DA could pass this up at any cost - but what is the cost? With fog bound meetings on a lonely pier at the wrong end of town, the too good to be true deal is struck. - Now to cover the unrevealed cost.

Wonderful direction and shadowy cinematography combined with superb performances make this a must see rarity. Most unfortunately it's been locked away in the MCA vaults since Paramount sold it in a package in the 50s. TCM HD is your only hope to see the newly re-printed copy - struck off for one of their Noir festivals. Let's hope they may offer it for sale on DVD sometime in future!

Some Public Domain copy houses are offering M.0.D. Off-Air copies, some of which are poor but one from the UK, has a reasonably good/OK transfer on offer.

Alias Nick Beal (1949)

A nice discovery! I'd never heard of this film, though I pride myself on following the noirs that are out there (mostly on TCM these days, having used up all the DVD released films). If you start with some doubt in the overly dramatic beginning credits (lightning, rain, and a Waxman score that is over the top), don't quit. We get a classic noir voice over by leading man Ray Milland, and then we're in the classic noir milieus.

Thomas Mitchell is at first the main man, and he's great in his inimitable way (though always better in supporting roles). And other character actors fill in the scenes as we see a man ready to run for governor and a whirlwind of corruption and wheeling around him. This doesn't sound like a noir, actually, but call it a crime and suspense film. It's good, moves fast, keeps an edge.

Milland shares the lead, entering on a foggy dock as the music turns dour. Cinematographer Lionel Linden has a field day with dramatic light and atmosphere (he's most famous for "Manchurian Candidate," though see "Blue Dahlia" for starters.) And he helps a lot because the movie is otherwise a kind of clever drama. There is one trick behind it all, which I can't mention, and you might not buy into it (and it certainly makes this a weird noir, and maybe even a weird crime film). But it makes it original in all the dark interiors and night scenes.

So what makes the film not quite click? One is Milland, who is stiff and dry (as usual). The other is Mitchell, who has a wonderful ease on camera but who doesn't have the bearing of a powerful man—a savvy top notch prosecutor who is being swept into high end politics. And the "trick" to it all makes it less worldly and gritty than this kind of scenario needs. It is overall a kind of Faust story—the devil tempting a good man who is willing to "sell his soul" to do the right thing.

And what of Audrey Totter, you ask? Yes, she's the usual wonderful "dame," the femme fatale with airs, in this case. Her role is too small and too restrained, however. In fact, maybe everyone is restrained, a bit, not rising to the level of the visuals, which are not a bit restrained.

That Hollywood ending? Read your Faust.

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.

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.

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.