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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.

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.

Another variation on 'Faust', this time from John Farrow with a miscast Thomas Mitchell as the Faust character, a decent District Attorney who, somewhat inadvertenly, sells his soul to become Governor and Ray Milland as his Mephistopheles, "Alias Nick Beal". It's certainly not in the same class as William Dieterle's "The Devil and Daniel Webster" and Milland is unusually stiff as the devilish Beal but its combination of old-fashioned fantasy and film noir still works and even without the direct reference to Old Nick this tale of a good man who sells out is a familiar one. This may not be the best version but the Faust legend has always proved popular and this was no exception, (it's quite highly thought of in some quarters). It's certainly stylish and it looks just fine but the pace is funerally slow and it's left to Audrey Totter as the temptress with a conscience to give the picture what lift she can.

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.

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.

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.

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.

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.

Milland and Totter are great, especially Totter who, like Liz Scott and Ida Lupino, was a fine actress who was consistently under rated because she did too many noirs like this one and not enough "prestige" projects as, say, the equally hot but much less talented Ava Gardner or Linda Darnell. Beyond the performances of these two the movie is kind of your standard depiction of The Faustian Bargain, one of Hollywood's hoariest story chestnuts, right up there with time travel and amnesia. There is absolutely no suspense or tension because we know how the story will end as soon as George Macready's priest enters the picture. And John Farrow, to put it kindly, is not the director who is about to subvert the sub genre or even provide interesting surprises. Expected more from Jonathan Latimer, though, one of the best noir scribes. C plus.

Politics and the Devil make perfect bedfellows in this shadowy crime thriller, transplanting Goethe's Faust to a metropolitan City Hall riddled with underworld corruption. Enter Nick Beale, alias Mephistopheles (Ray Milland), with an offer no crimefighting District Attorney could refuse: he'll help clean up the riffraff and pave the way for the DA's nomination to the State Governor's office, providing of course that his client is willing to pay the proper price. The true nature of Beale's otherworldly influence unfolds with diabolic precision, but for all his sinister charm this particular Prince of Darkness is little more than a sly Sunday School magician, ale to appear and disappear at will but finally undone by the mere sight of a bible. The mood throughout is effectively sinister, but never once does the film overplay its already fantastic premise by taking itself too seriously, adding an unusual variation to the cycle of 1940's Film Noir.

This is an age-old Faustian tale with 1940s film noir trappings, complete with ominous fog down by a rough and tumble waterfront, but in this case the character making the deal isn't doing so out of a desire for riches or love, on the contrary, he wants to do good in the world. He's a district attorney who wants to convict a mob boss who evades prosecution by destroying evidence, and he also believes as governor that he could help address the problems facing his state. The seduction here takes the form of the Machiavellian argument that the ends justify the means, that a conviction would justify violating the law by not getting a search warrant, and that being elected would justify making a deal with unsavory crime elements so that he can harness the power of their political machine. As the devil reasons with him, "In order to do good as governor, you've got to be elected first. And to be elected you must make a deal with Faulkner (a crime boss). Sure, that's kind of grey. But it's white beside Kennedy's (his opponent's) color." Sure, this is fantasy, but it's an incredibly relevant argument, particularly when one side of the political spectrum continually "goes low" or is openly corrupt.

It's only when he's already morally compromised that the district attorney (Thomas Mitchell) needs to sign a deal to preserve his power, essentially being subjected to demonic blackmail. Ray Milland is Nick Beal/The Devil, and he has the eerie habit of turning up and disappearing without warning. There were some obvious things to the character, like his aversion to the Bible, slinking away from a reading of it like a vampire from a cross, but there are some other things sprinkled in, like his taste for surreal art, or his not wanting to be touched (oh, how I wish more had been done with this). Pure souls like the D. A.'s wife (Geraldine Wall) take an instant aversion to him, kind of like a cat sensing evil, and a priest thinks he's seen him before, wondering if anyone's ever painted his portrait. "Yes, Rembrandt in 1655," Nick Beal replies. Milland turns in a solid performance, urbane and seductive, but also not above slapping a prostitute (Audrey Trotter) who he's also using to remind her of her place. Mitchell is also good in his role, expressing the inner moral conflict and see-sawing behavior between listening to his conscience and angrily justifying what he's doing.

In a way reminiscent of Spencer Tracy's role in Frank Capra's State of the Union (1948), Mitchell's character "comes clean" in an impromptu manner during his inauguration speech, so the film certainly has that strain of idealism. I do like a good story with Satan as a character and this one was decent enough I guess, but the power of the Bible stuff was laid on a little thick in the end, and I would have loved something just a tinge darker. Worth seeing though.

Alias Nick Beal (1949) : Brief Review -

Another fine horror mystery by John Farrow, and this time it's largely about the devil versus the Bible. It's good to see that Farrow didn't disappoint while trying his hand again at the horror mystery genre after delivering a superb film like "Night Has a Thousand Eyes" (1948). This time, he uses superstition, the devil, and the Bible while dealing with human conscience and loyalty. The film takes us into the life of an honest attorney, Foster, who wants to clean up the city but has no power. He is met by a peculiar stranger, Nick Beal, who offers him a deal he can't refuse. Beal sends Donna to entice Foster, eventually making him the strongest candidate for Governor. Despite his wife's objections, Foster makes a deal, compromising his honesty and goodwill. Will he get what he seeks, or will Beal achieve his own goals? The film has a strong human connection as it explores "deals with the devil," using themes of human conscience, greed, hunger, betrayal, and despair. I loved how Foster's character was developed through several stages, showcasing variations in his behavior. From a happy and honest person, he transforms into a greedy and dishonest man. Anna changes from being good-for-nothing to a decent girl who genuinely cares about Foster and his well-being. However, Beal's character easily surpasses them all. He is a devil, cunning and clever, but is ultimately defeated by God. "I don't like to be touched," he says, and we understand why. That horror notion of evil being afraid of the Bible is effectively employed here. The Reverend consistently talks about having seen Beal's painting somewhere, taking us to an ancient era of gothic horror. I wish they had included more details about Beal's past life; it would have greatly enhanced the film. Ray Milland and Thomas Mitchell deliver notable performances, while Farrow's direction keeps you captivated for one and a half hours in his intriguing and mysterious world. Watch it.

RATING - 7/10*

By - #samthebestest.

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.

There's a Faustian bargain afoot in this modern day noir/fantasy from 1949. Alias Nick Beal is an odd pairing of both moods that never establishes its footing convincingly in either.

District attorney Joe Foster (Thomas Mitchell) is an above board pol whose recent case success has elevated his status to being considered for a governor run. Enter "agent" Nick Beal (Ray Milland) who can lock it up with some key evidence to bolster his run. Foster bites and Beal sweetens the deal with a waterfront floozy (Audrey Totter) posing as a society dame to further corrupt him.

Nice to see dependable supporting actor Mitchell in the lead and he meets the challenge. Milland smoothly plays the sly, suave, snake with his usual sure handed grasp while Totter is a little more complex and Geraldine Wall placidly grounded.

Nicely lensed by Lionel Lindon, especially to enhance the nebulous Beal, the plot remains far fetched in the harsh world of noir, the outcome more Capra than Wilder.

This is yet another take on the Faust tale. Other then perhaps the addition of a femme fatale the film really offers nothing new to the mix. Ray Milland as the devil is the only reason to sit through this, he really plays it cool and he is certainly a demon I'd want to make deals with. When a reporter asked the Welsh Milland at age 80 if he had any big plans he replied, ''Just to go home now and sit in my black leather chair and read. I've read everything, I think. I've got 3,000 books at home, and, believe it or not, I've read every one of them, including the Bible. It turned out to be a pretty dirty book.''

With the great acting and script Alias Nick Beal is actually pretty enjoyable up until the conclusion. I don't know if the Hays Code demanded that they wrap it up in such an antiseptic fashion, but the ending was such puke it made me forget about anything good that may have come before.

This is a cool little gem with Ray Milland as a seemingly supernatural mystery man who corrupts good guy Thomas Mitchell. Attractive cinematography, foggy atmosphere, excellent cast. The only problem is it has a great build only to finish like a Dracula movie, which is kind of silly. Still it's a wonderful film and one I highly recommend. Any movie with Audrey Totter in it is always worth a look.