Un pacte avec le diable

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.

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.

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.

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.