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Why would someone who has thoroughly enjoyed movies such as "Judge Dredd" and "Wild at Heart" consider this to be "my favorite movie"?

One word - "fantasy". It's my favorite movie category, and this is the best one that I've ever seen. The 1940s was the decade in which horror melodramas and fantasies really began to ramp up, and this movie helped to set the standard. Stephen Vincent Benet's story is a bit changed, but not enough to diminish this American Gothic tale.

Aside from being superior entertainment, the movie simply has no weaknesses. Where to start? The casting and acting are extraordinary. Though both are most often remembered for other movies, Edward Arnold and Walter Huston turn in their best performances here. Simone Simon (known today for the "Cat People" movies) is exceptional as Belle. Anne Shirley, James Craig, and the stellar supporting cast are also great.

This is Bernard Herrmann's best film score. William Dieterle's direction is quirky and involving, propelling the film along at a fast clip. Admittably, the characters are caricatures, but Dieterle helps us to feel their trials and tribulations. The movie also features brilliant cinematography, exceptional production values, and truly superior editing (this was an early job for director Robert Wise). The scenes are quite stagey, but never disjointed - the logic of the story is unmistakable and riveting.

Huston is the ultimate "Mr. Scratch". I've seen this show many times, and it's a 10/10.

Set in 1840s New Hampshire, the story centers on a poor farmer Jabez Stone (James Craig) who's about to lose his farm to a money lender when one bad piece of luck after another has him saying that his bad fortunes are enough to cause a man to sell his soul to the devil. Of course, the devil (Walter Huston) instantly appears and tempts a very willing Stone to trade his soul in return for "all that money can buy". The contract they sign has the devil collecting his soul seven years from the date of their agreement.

The devil then uncovers a buried treasure of Hessian gold and from that moment on, Stone prospers (to the detriment of his friends and neighbors). Local politician Daniel Webster (Edward Arnold) is godfather to Stone's new baby and passes thru town regularly to socialize and imbibe with the locals. When the due date for reaping his soul arrives, it's to Webster that Stone turns to argue his way out of going to Hades for all eternity in a supernatural courtroom scene with famous disgraced and dishonored Americans - themselves in Hades - as the jury.

William Dieterle's nearly surrealistic settings and camera work (by Joseph August) add just the right touch of menace and fantasy to the stark New Hampshire settings. Simone Simon plays a seductive assistant of the devil whose purpose is to keep Stone's heart and attention away from his timid yet insightful wife who might somehow set him back on the right path.

Walter Huston was Oscar nominated for his performance as the devil and Edward Arnold plays Webster as big as all outdoors - a man with appetites and a love of life to match his girth. New England is portrayed as a rural place not too far from its Puritan roots.

Made in 1941, and dealing in themes of religion and patriotism, it might have been a shrill production had it been made any later once the war years had lots of films getting heavy handed when dealing with either of those subjects.

William Dieterle's adaptation of Stephen Vincent Benet's The Devil and Daniel Webster is the product of a great, albeit brief, era of quality Hollywood film-making that has never been repeated. Released within a three-year period that yielded such classics as The Wizard of Oz, Gone With the Wind, Gunga Din, The Maltese Falcon, and Citizen Kane (just to name a few), The Devil and Daniel Webster is only now earning the accolades it deserves. The film is late to join the aforementioned classics because a definitive version of it has been elusive for nearly sixty years. For their 2003 DVD release of the title, The Criterion Collection finally discovered a complete print that had been in the director's possession. Now restored to its full length, and painstakingly restored, The Devil and Daniel Webster has never looked and sounded better.

A cautionary tale of greed and power, the narrative centers around the character of Jabez Stone (played by James Craig), a down-on-his-luck farmer who is barely able to support his family in 1840s New Hampshire. When the nefarious Mr. Scratch (Walter Houston) appears during a moment of weakness, Jabez agrees to sell his soul in exchange for seven years of good luck. Much to the dismay of his wife (Ann Shirley), mother (Jane Darwell), and beloved politician Daniel Webster (Edward Arnold), Jabez slips into a downward spiral as a result of his newfound wealth and power. When his seven years are up, Jabez learns the error of his ways and wants to make amends. To escape his contract with the devil, Jabez puts his fate in the hands of the almost mythic Daniel Webster, who represents him in a climactic barn room trial against Mr. Scratch and a jury of the damned.

The execution of this story is remarkable, from the elegant direction and incredible performances to the innovative camera work and stylish mise-en-scene. Dieterle infuses the film with stark contrast lighting and masterful compositions rich in detail and multiple layers of action. When Mr. Scratch appears in Jabez's barn, he is heavily backlit and accompanied by ethereal sounds. His accomplice, the creepy Belle, is similarly introduced beside a fireplace. To portray the film's more ghostly effects, including Belle's dance to the death with Miser Stevens and the barn room trial, Dieterle relies on multiple exposure and diffused lighting. These visual effects and others, such as items bursting into flame, were ahead of their time - as were the lighting schemes. Influenced as Citizen Kane was by German expressionist films, The Devil and Daniel Webster features bold, suggestive lighting where shadows alone often represent a character. Dieterle succeeds in creating a visual distinction between the real world and the netherworld by frequently bathing Scratch and Belle in soft light or diffusion and removing all natural sounds from the soundtrack when they appear. Belle's dance of death and Scratch's fiddle playing at Jabez's party are accompanied by severe under lighting, insinuating the hellish forces at work in both scenes. Every shot in the film, even in the mundane world, seems painstakingly planned and executed, with decisive lighting and many intricate camera movements, rare for this era of film-making.

The most remarkable performance in the film is Walter Houston's Mr. Scratch.

Houston, an Oscar-winner for his role in Treasure of the Sierra Madre, exudes unbridled glee with every devilish grin. His devil is a gentleman-like puppet master, a smooth talker, and very persuasive. He never flaunts his evil powers. He doesn't have to. His appeal is understandable because he can offer what everyone in the movie wants - wealth and power. It's easy for the Devil to sell his wares to struggling farmers, so he's confident and playful in his duties. Houston throws away one-liner after one-liner, owning the screen and stealing the show. At one point, he offers to help Daniel Webster win the presidential election. Webster replies, "I'd rather see you on the side of the opposition." As Webster walks away, Houston replies, "Oh, I'll be there, too," and sticks a cigar in his mouth.

To combat the devil, Dieterle cast Edward Arnold (who was actually recast when the original actor was injured during filming). Arnold had a tough job in the film, making believable not only Daniel Webster's mythic stature, but also his flowery rhetoric about patriotism and the goodness in all men. He admirably succeeds in not only persuading the jury of the damned, but in holding his own against Walter Houston in their many scenes together.

Everyone else in the cast is also excellent. James Craig pulls off Jabez Stone's fall from grace, and Ann Shirley is a believable virtuous wife. Jane Darwell, fresh off her Oscar-winning stint as Ma Joad in The Grapes of Wrath, seems to be playing the same character in The Devil and Daniel Webster, but it serves the movie well. The most notable supporting player is Simone Simon, whose mesmerizing Belle haunts every frame in which she appears. It's easy to see why Jabez would fall under her spell, because we, as an audience, do as well.

The icing on the Devil's cake is Bernard Herrmann's Oscar-winning score, a dynamic one that works on many levels. Herrmann incorporates several traditional folk songs into his original music, including "Devil's Dream", "Springfield Mountain", and "Miss McLeod's Reel". For Mr. Scratch and Belle, Herrmann manipulated the sound of telephone wires "singing" in the wind to create an eerie, atonal sound for the netherworld. The film also provided Herrmann a wealth of other opportunities, including a square dance and two lullabies.

A good story makes a movie worth watching once. Exquisite aesthetics makes it worth watching many times. The Devil and Daniel Webster stands the test of time as an endearing narrative with lessons we have still to learn. It's masterful direction and style, fluid editing, and charming performances make it an accessible and entertaining film for any audience. Now restored and widely available, it is sure to join the ranks of those other great classics from the late '30s and early '40s - a scintillating example of good storytelling and fine craftsmanship.

• Scott Schirmer

What a sweet piece of work. Really good dialogue, and many well written and acted parts besides the obvious titular characters. Miser Stevens and Stone's mother were very good, and especially Simone Simon as the nursemaid/mistress. Three emotional qualities really stand out to me:

Funny: Huston as ol' Mr. Scratch was SO good. Very funny, cynical wit. Lots of little things that stand out from him, all the odd places he turns up. He's everywhere, leading the band at the parade for Dan'l, in Washington whispering in the senator's ear, playing a mean fiddle at the barn dance. His insults to Jabez Stone were priceless. The bit at the end of him ravenously devouring this huge pie was a really funny demonstration of his greed, and the final moments of examining his book for the next target are priceless.

Creepy: Between all the funny stuff were the implications of hell and damnation, but especially terror and hopelessness (Stone and Miser Stevens). The visitors at Stone's new mansion really creeped me out good. Also creepy was the infamous scene where Miser Stevens recently harvested soul comes flying out of Scratch's jacket pocket screaming for help. This also counts as funny, at least when my five year old nephew and I go around effecting high-pitched squeals begging "Help me Neighbor Stone."

Sexy: Belle, the French nanny/whore that Scratch sent Jabez was hotter with her clothes on and no direct sexual behavior than the hookers making out in the elevator to entertain Al Pacino in "The Devil's Advocate." Note the exact tone and body language of her mocking rebuff to Stone at the barn dance saying "Oh, NO Mr. Stone- your place is with your WIFE."

The hottest thing in the movie (and one of the creepiest things) is the scene where she is singing some evil otherworldly lullaby to Stone's infant son. Rewind and watch it closely a couple of times. What was she singing?

Surely this is one of the greatest forgotten movies of the era. This should be making some of those AFI top 100 list thingeys.

This film could never work now, because Americans are far too cynical to accept a politician beating the Devil in a battle of morals. Now the politician would be in the Devil's hip pocket. "The Devil and Daniel Webster" is a creepy, effective little morality tale about a farmer who sells his soul to the devil in exchange for prosperity and the politician who ends up defending him and winning it back.

What seemed startling in 1941 feels mostly creaky by today's standards, but there are still some fresh moments of film making in this one. William Dieterle was obviously open to experimentation when it comes to the use of cinematography and sound, and the movie has a striking visual look. The plot is mostly connect the dots, and there are no real surprises, but I don't know that one watches a morality tale for surprises in the first place.

Walter Huston is extremely creepy as the Devil (aka Mr. Scratch). He received a Best Actor Academy Award nomination for his performance even though, based on sheer screen time, he really has more of a supporting role. But he's so effective when on screen that his presence dominates the film even when he's physically absent, which probably accounts for the lead nomination.

Edward Arnold is pretty good too as Daniel Webster. Also standing out is Jane Darwell (Ma Joad in "The Grapes of Wrath") as a hardened farm mother.

Parts of this film have a wicked sense of humour, which I thoroughly enjoyed. The trial at the end (with a literal jury of the damned), is especially amusing.

On a sidenote, the film was successful in capturing the 1941 Academy Award for Best Dramatic Score.

Don't expect to see any points made that haven't already been made a thousand times in a thousand other movies, but enjoy the originality of the film technique on display.

Grade: A-