La sconfitta di Satana

A variation on the Faust theme, Thomas Mitchell plays an honest politician who is tempted with the state governorship if he follows the political advice given to him by a mysterious stranger who emerges from the fog (Milland). Among other things, Milland has the ability to predict, word for word, the exact dialogue that will occur between two people in a future conversation.?

It seamlessly blends political drama, noir and Val Lewton-esque psychological horror. Ray Midland's portrayal is restrained, without sacrificing any of Nick Beal's monstrous evil. The subtle, malevolent smile on Milland's face as Thomas Mitchell's Foster has his epiphany reveals that, perhaps, Nick Beal is truly omnipotent. He's thought of everything, and there's no escape for poor Foster. The screenplay by Jonathan Latimer is outstanding. When Nick lectures Foster that in politics, and life, there are no absolutes, just shades of gray, I can't help but think of Broadcast News and Albert Brooks' speech about the devil - "What do you think the devil's going to look like if he's around? ... Nobody is going to be taken in by a guy with a long, red, pointy tail!"??

The ending was a tad heavy-handed, but appropriate for the times. Audrey Totter was her usual terrific self. And George Macready is miles away from his sleazy character in Gilda. Director John Farrow, along with the production design, music by Franz Waxman and Lionel Lindon's chiaroscuro cinematography create a feeling of inescapable dread.

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.

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

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.

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.