Alias Nick Beal (1949) User Reviews (37)

Mr. Milland's Longevity

[theowinthrop · 8/10 · 16 March 2005]

Ray Milland managed to do something that few critics were ever willing to admire him for. He was a good looking man of Welsh (not English) ancestry, who could play members of the English upper class. But he was always willing to stretch a bit more than other similar actors. For one thing, he could play villains. Even in his early career he was frequently cast as a weakling or a gigolo (as in "We're Not Dressing"). He was willing to experiment with comic roles as well as straight drama. The result was that from 1942 to 1951 or so Milland was a Hollywood star. He played the leads in films as various as "Reap the Wild Wind", "The Major and the Minor", "The Ministry of Fear", "The Big Clock", "The Lost Weekend", "Golden Earings", and "Alias Nick Beal". While some of his films were comedies (such as "The Major and the Minor" and "Skylark") quite a number were dramas or even melodramas. And some of his characters skirt the edge of acceptable behavior. He is a man who has just been released for committing a mercy killing of his wife in "The Ministry of Fear". Although he is basically innocent, he is a flirtatious type in "The Big Clock". Even in Wilder's "The Major and The Minor" there is a moment when Milland, smiling at the thought of what a real "knockout" "Sue-sue Applegate" (actually grown-up Ginger Rogers) is, suddenly gets a really pained look in his face - he does not like that he's thinking lascivious thoughts about a child.

His deserved "Oscar" for "The Lost Weekend" is another example of this dark side - he is supposed to be a writer, but he is a poseur with a serious drinking problem. In fact, he contemplates suicide at the conclusion of the film, only to be stopped by Jane Wyman.

In "Alias Nick Beal" he played his most sinister part (except possibly Tony Wendice in "Dial "M" For Murder"). Here he played Satan, and he is in total control of the game throughout of the movie - the game being politics and power over people. On one level, if one forgets the supernatural elements, "Alias Nick Beal" is as good an abject lesson in the back room deals of American politics as the comedies "The Senator Was Indiscreet" or Preston Sturges' "The Great McGinty". Only here, with violent death thrown in, the seediness of it all becomes more apparent. Possibly the best moment is when the honest, and mostly honorable, Thomas Mitchell is forced to shake hands with Fred Clark, the most notorious political boss in the state. On the other level is the serious attempt to keep some religious allegory in, with people like George Macready (here in a rare good guy part) noting that Beal resembles an ancient picture of the Devil, and that "Los islas de las almas perditas" where Beal comes from means, "The Island of Lost Souls". Religion does play a crucial role in the film, including it's completion.

Leslie Halliwell made the observation that after this film none of the stars ever did as well again. This is not true. Milland did play the evil Tony Wendice, and Macready went on to the mad French general in "Paths of Glory". But more important, Milland kept showing his ability to stretch in the remaining decades of his life. Besides writing his interesting autobiography "Wide Eyed in Babylon", he directed several films, he appeared in several televisions series (one of the few stars who did not fear the new medium - and he was rewarded here too, for in the 1970s and 1980s he was still appearing while many contemporaries retired). Finally he capped his career as the snobbish father in "Love Story". Actually his career is an example of just what can be accomplished if a person is not ashamed to jettison useless or outdated personalities for new ones.

Seeds of destruction

[bkoganbing · 7/10 · 16 November 2013]

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.

Old Nick - Crafty Devil.

[hitchcockthelegend · 8/10 · 22 April 2015]

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

Otherworldly fantasy meets film noir with Satan as a racketeer

[zippgun · 12 May 2003]

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.

Great little Faustian tale

[vincentlynch-moonoi · 7/10 · 3 August 2017]

WARNING: THIS REVIEW CONTAINS A SPOILER. WARNING: THIS REVIEW CONTAINS A SPOILER. WARNING: THIS REVIEW CONTAINS A SPOILER.

It's not often that a film pops up on TCM that I haven't seen before, and it's a special treat when it's a "lost" gem, and this one is that in that for years it could not be shown on television.

And, this is a gem for several reasons. First because here Thomas Mitchell -- though getting third billing -- is the real star of film as a politician. He has the most screen time by far, and the story really revolves around him. And it's a fine performance.

Ray Milland is, essentially, the Devil here, although it takes quite a while early in the pic to fully realize that. It begins to dawn on the viewer fairly early that there's something supernatural here, but at first you wonder if Milland is sort of a fallen angel with good intentions. One murder later and you know that's not true. Milland is good in the part, and his career is full of interesting parts where he clearly refused to be typecast. Good for him!

Audrey Totter -- not exactly leading lady material -- is here (sort of). But rather than say leading lady, I'd say "key player". She does well.

George Macready is good as a political minister of sorts. Fred Clark has an important, though minor role as a crooked political hack. Geraldine Wall, with whom I was not familiar, was very good as Mitchell's wife. Veteran character actor Henry O'Neill is here in a minor role as a judge. And young Darryl Hickman has a small role.

So the story is good (in fact, I was tempted to give it an "8"). A politician gets involved with Old Scratch, though gradually without really realizing what is happening to him. The question is: will he sell his soul to the devil and, if so, will he be able to break that contract?

Highly recommended.

I should also mention that about 7 years later an episode of "Father Knows Best" called "Mister Beal Meets His Match" supposedly had an appearance by Ray Milland. I just watched that episode. No sign of Ray Milland from beginning to end.

In this dark, half-forgotten gem, His Satanic Majesty delves into municipal politics

[bmacv · 9/10 · 27 April 2003]

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.

Pass me some Barbados rum

[AAdaSC · 7/10 · 11 August 2013]

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.

Offbeat and well-done psychological drama.

[Hup234! · 9/10 · 24 October 1999]

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.

Sanctimonious

[marcslope · 6/10 · 9 August 2017]

Interesting, atmospheric late-'40s near-noir, shot through with smoky exteriors and great moody lighting. But it's just a variation on the Faust legend, and not an imaginatively conceived one. Thomas Mitchell, a good man running for governor, is courted by Ray Milland, who's essentially the devil. He talks in epigrams and charms when he wants to and bends fate to his will, and he enlists femme fatale Audrey Totter (who's splendid) to lure Mitchell away from his good, moral, dull wife. There's some fine Franz Waxman blasting beneath the surface, and some good character actors turn up--Fred Clark as a corrupt pol, Darryl Hickman as a bad kid turning better. What ruins it for me is the sanctimonious posturing, from a too-good-to-be-true priest to some absurd plot points- -Milland refuses to be touched, and is ultimately done in by being unable to touch a Bible. Though Milland's top-billed, Mitchell is really the lead, and he's good. But the picture sermonizes too much for its own good.

The devil is in the details

[AlsExGal · 8/10 · 9 December 2018]

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.

The fable of Faust in post-War pseudo-noir America

[secondtake · 7/10 · 3 August 2017]

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.

Ray Milland has one of his best roles in this low key story of temptation

[dbborroughs · 8/10 · 10 June 2009]

Ray Milland attempts to tempt Thomas Mitchell, a crusading politician. First Milland gets the goods on a crook Mitchell was trying to get into office, then he helps Mitchell reach for the governor's office. Will Mitchell be able to break free? Milland is perfectly cast as the cocky, seemingly all knowing Beal. From the minute from he steps on screen it's clear he's up to something and Milland milks it for all its worth. I came into the film unaware of who Beal was and it really added to the proceedings since I couldn't be sure if this was the sort of film I thought it was. Even once I realized that yes he really is the devil I couldn't believe it since the role is so well written and the film is so well done that its implication rather than overt explanation (until the end and even that is low key). A solid morality tale excellently acted by a great cast. It's one of Ray Milland's best roles. Worth searching out.

Passable but it could have been so much better.

[MOscarbradley · 6/10 · 22 August 2021]

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.

Pretty fair combination of supernatural and film noir

[lemon_magic · 5/10 · 30 May 2012]

Unlike a lot of commentators on this site, I found "Alias Nick Beale" to be kind of slow and uninvolving, but that probably just my prejudice against film noir revealing itself. I liked Ray Milland just fine in his role, but the guy who played the "Faust" character dull and uninteresting - probably not the actor's fault, since the character he plays is a self-important blowhard who is willing to take shortcuts to get important reforms done.

However, I did like the way the screenplay made things "complicated" for the "hero" as he dealt with more and more unexpected consequences of his initial compromise, and unlike some here, I liked the lead actress' performance as the Jezebel with a heart of gold.

There's some heavy-handed and not very convincing sermonizing by a minister that's supposed to serve as the moral center of the film, and I have to say that if that's what we've got for inspiration against the wiles of St. Nick, we're in trouble.

Still, I have to give the film credit for some interesting ideas and some good one-liners by "Beale", and a resolution that leaves the hero with something like a 2nd chance.

Forget Double Indemnity - for me, this is the quintessential film noir

[simonstudios · 10 February 2003]

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.

not your typical Film Noir

[mjneu59 · 6/10 · 2 November 2010]

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.

Alias Nick Beal - Eerie Morality Play

[krocheav · 8/10 · 27 July 2020]

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.

Shake hands with the devil

[blanche-2 · 7/10 · 3 August 2017]

From 1949, we have Ray Milland, Thomas Mitchell, Audrey Totter, and George Macready in "Alias Nick Beal."

Thomas Mitchell plays Joseph Foster, an ethical DA who is working to get rid of the mob influence in his city. One day, he meets a man, Nick Beal (Milland) who offers him evidence against a mobster he is trying to put away. But he has to obtain it illegally, and he does.

After that, Foster is put forward for governor, and he acquires an attractive secretary (Totter) and becomes distant from his wife. Meanwhile, a reverend friend, Thomas (Macready) is suspicious of Beal and can't help thinking he's seen him before.

A riff on the Faust story, this is a very good noir with an excellent performance by a soft-spoken, unflappable Milland as Beal. Thomas Mitchell could always do pathetic well. Totter, a frequent noir actress, is excellent as the pawn of Nick Beal, doing his bidding for a gorgeous apartment and beautiful clothes.

The greatest trick the Devil ever pulled was convincing the world he didn't exist. Here he's clothed as Nick Beal. Fine film, recommended.

Alias Nick Beal

[garyotoole · 9/10 · 22 November 2005]

I've seen this film perhaps twice in my life and why it 'sticks' in my memory so vividly is quite beyond me. It's very atmospheric and for a young boy, not quite in his teens, when he first saw it, it scared me to bits, I hope it arrives on DVD soon, it would be a welcome addition to my collection. Ray Milland plays the titled Nick Beal, a shadowy figure who is, or is not Old Nick AKA; The Devil himself. This guys oilier than a tin or sardines, but always charming and mysterious. From what I can remember, it's a run on the Faustian themes of selling your soul for the things you think you want, a contract written in blood and the love of a beautiful young girl. I compel the people who own the rights to this film to release it, it's wonderful and needs to be shared AND REMEMBERED!

Great supernatural noir hybrid.

[noir guy · 9/10 · 16 September 2007]

This great supernatural noir hybrid deserves to be far better known and released on DVD (Wake up, Paramount!). Shadowy fixer Nick Beal (Ray Milland) is more than he appears to be (Check out his name for starters). When decent D.A. and seemingly "incorruptible enemy of the legions of evil" Joseph Foster (Thomas Mitchell) claims he'd sell his soul to put away an influential racketeer, saturnine Nick Beal gets on his case and subsequently smooths the way to a successful prosecution and, possibly, a path to the governor's office. But what does it profit a man if he gains the world but loses his soul? This modern dress morality play gives us an answer as well as proving to be a gripping tale of character and drama. Smoothly directed by John Farrow - whose previous film was also a noir with supernatural overtones, NIGHT HAS A THOUSAND EYES (DVD release too please, 20th Century Fox), and who had directed Milland in the earlier more plot-oriented noir THE BIG CLOCK - and atmospherically filmed by Lionel Lindon (who later shot THE MANCHURIAN CANDIDATE), this is a gripping and unusual noir. Bolstering this offbeat generic tale are a clutch of great performances, particularly those of the saturnine Milland, tormented Thomas Mitchell and a touching Audrey Totter as the fallen angel waterfront lush enlisted by Beal to carry out the fleshier requirements of his plot. Given the era it was made, the Devil may not ultimately have all the best tunes here (which wasn't quite the case with Al Pacino's older Nick in the not altogether dissimilar THE DEVIL'S ADVOCATE) but this is still an unusual and tangy take on personal, spiritual and political corruption that is highly recommended and deserves to be more widely seen. As I said, DVD release please, Paramount!

ALIAS NICK BEAL (John Farrow, 1949) ****

[Bunuel1976 · 10/10 · 23 October 2009]

I had long wanted to check out this modern Americanization of the "Faust" legend and, at the same time, wondered at its apparent neglect over the years. Having done so now, I am honestly baffled by this as the film is superb in every respect – keeping also in mind that there are at least three other classic cinematic versions of its prototype i.e. F.W. Murnau's Silent FAUST (1926; which retains the original setting and period), William Dieterle's THE DEVIL AND DANIEL WEBSTER aka ALL THAT MONEY CAN BUY (1941; superbly rendered in terms of Americana http://www.imdb.com/title/tt0033532/usercomments-20) and Rene' Clair's LA BEAUTE' DU DIABLE (1950; with the narrative, of course, re-set to France http://www.imdb.com/title/tt0042235/usercomments-4). By the way, I purposely picked my birthday (17th August) to catch up with ALIAS NICK BEAL since I was to watch yet another variation on the theme – HAMMERSMITH IS OUT (1972), starring Richard Burton – anyway, as part of my ongoing tribute to that renowned thespian on the 25th anniversary of his passing! To begin with, the acting is impeccable: Ray Milland, at once charming and sinister in the title role who, not only has the penchant of never being seen entering or exiting a room but just suddenly be there Mrs. Danvers-style, but is also so evil that he threatens to blackmail the Faust character here soon after having opened the road to success for him!; Thomas Mitchell, reliable but at the same time a symbol of integrity, is actually the one to take the spotlight throughout; and Audrey Totter, the tramp with ambitions above her station who eventually reforms thanks to her proverbial heart of gold…but we also get George Macready and Fred Clark effectively cast against type as reverend and racketeer respectively! The eerie supernatural elements, then, are remarkably rendered without the use of special effects (complemented by noir-ish cinematography and an emphatic score). Among the most memorable moments we find Milland afraid of being touched and even more so of the Holy Scriptures (reprised in the film's splendid climax); the uncanny chat between Totter and Mitchell 'rehearsed' verbatim beforehand with Milland (incidentally, the blooming relationship between Mitchell and Totter is subtly mirrored in the scenes depicting Mitchell's growing estrangement from his wife); and Totter's drunken exchange with a bartender before she is picked up by Milland. The political element within the film is more of the idealistic Frank Capra variety (of which Mitchell himself was a stock performer) than the 'mature' level of the contemporaneous ALL THE KING'S MEN (1949) – although, watching this, I was immediately reminded of Raoul Walsh's James Cagney vehicle A LION IS IN THE STREETS (1953) which I only caught last month (in a retrospective of that star's work honoring the 110th anniversary of his birth). In conclusion, I would like to point out that director Farrow was an underrated film-maker from Hollywood's Golden Age and this is undoubtedly his most accomplished effort.

P.S. Watching the not dissimilar THE SOUL OF A MONSTER (1944) – also with Macready – as part of the Halloween challenge, I was inspired to finally complete my review of this film

Not devilish enough

[AaronIgay · 4/10 · 21 October 2013]

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.

Two Falls Out of Three

[utgard14 · 8/10 · 12 April 2020]

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.

Behind every great politician is a brilliant demon!

[mark.waltz · 10/10 · 20 August 2012]

I've always suspected that some politicians were in league with the devil, and this political thriller is one of those that will make you look at those men who stand behind your councilman, senator, governor, president. Like "The Devil and Daniel Webster", "The Bishop's Wife" and "An Angel on My Shoulder" (the last two being on the other, more desirable side), there is no doubt who the other worldly being is, or at least working for. In this, the year of a Presidential election, it is fascinating to go back and watch political thrillers like this, even if at least, to wake you up to the obsession with power and the men with the money who put these people in power. Thomas Mitchell is running for Governor and finds himself being influenced by a mysterious man named Nick Beal. Another Oscar Winning Actor Ray Milland plays the dark and deadly Beal who will utilize whatever means he can to get Mitchell under his thumb, whether it be blackmail, murder or even a sexy blonde to control him.

Chilling performances dominate this excellent film that you may not want to watch before you go to bed. Milland's Nick isn't a charming, rascal type version of Bealzabub like Walter Huston's in "The Devil and Daniel Webster" or Ray Walston's singing and dancing one in "Damn Yankees". This one is frighteningly real, a definite wolf in sheep's clothing with his Hollywood handsome leading man looks and dashing facade. He's closer to Damien in "The Omen" movies than Huston's Mr. Scratch. Audrey Totter is the down-on-her-luck femme fatal used by Milland to assist in his evil plans, and is excellent. George MacReady adds another great characterization to his list of seemingly strange men. Fascinating art direction, brilliant photography and a lovely music score are among the technical achievements. The film might strike some viewers as a bit preachy, but it really has a lesson worth preaching 60 years later (and 13 presidents since).

LET'S MAKE A DEAL

[kirbylee70-599-526179 · 8/10 · 9 August 2021]

I'd heard of ALIAS NICK BEAL for some time now. It seemed to always pop up on Turner Classic Movies but I never got around to watching it. Now Kino Lorber has released the film in a cleaned up version and I'm glad I waited. Not only does the movie look great it turned out to be a solid film as well.

Thomas Mitchell (who many will remember from ITS A WONDERFUL LIFE as Uncle Billy as well as numerous other films) takes the lead here. He stars as Joseph Foster, an honest district attorney determined to clean up his city of both criminals and crooked politicians. He helps out with a youth club as well and has the support of many close friends, friends who hope that a victory would help him find himself as the next governor. Foster says he'd do anything to win his next big case, even sell his soul.

As he's about to take the most notorious criminal to task the evidence he was waiting for is burned to a crisp. With all hope lost he gets a message from someone telling him they can help and to meet at a waterfront saloon. At this dive in walks Nick Beal (Ray Milland). Beal tells Foster that another set of books exist. Taking him to the offices of his adversary, Beale displays the books for him. The problem is he has no warrant. Beal convinces him that winning the case is the most important thing and let's Foster know that one day he'll come to him for a favor.

As Beal handles Foster he also works himself into the life of Donna Allen (Audrey Totter). A down on her luck actress who is now little more than a bar floozy, he offers her a chance to make something better of herself. Setting her up in a penthouse filled with nice clothes, all he wants in return is for her to work herself into the governor's campaign of Foster.

It isn't long before Foster falls prey to the very things he said he was determined to get rid of. Along the way he begins a romance with Allen. As he begins to change his friends notice what is happening and begin to abandon him. His wife Martha (Geraldine Wall) sees herself losing him but wants to save him. With the help of Martha and his friend Rev. Thomas Garfield (George Macready), there might be a chance for him yet. Or perhaps Nick Beal will collect his marker after all.

The story here is a good morality play as we watch a man struggling to do good attempt to take a shortcut and falling by doing so. But what makes the story more interesting is that it's sold as a film noir, those movies that featured an extreme use of lighting, cynical heroes and criminal situations. But as you may have guessed there's more to it than that. Beal seems to materialize out of nowhere. He has a contract for Foster to sign. And he avoids touching the Bible. Any guesses as to who he might really be?

Mitchell was an excellent actor but for most of his career he was saddled with sidekick and supporting roles. There were few who could compare to his abilities to make those characters stand out. Seeing him in the lead here shows what talent he truly possessed. He turns in a solid performance. Milland on the other hand was by this time a leading man. While the focus of his character is there in the title and in the advertising for the film, his role isn't near the lead one would expect. It takes a certain amount of confidence to allow others to shine when you're at the peak of your career. And Milland was at his peak, giving some of his best performances in the years this and many of his films were made.

The rest of the cast does a great job as well though most never went on to anything this big. The film was directed by John Farrow who married Maureen O'Sullivan and who among their children was Mia Farrow. His career produced a number of hits and he won an Oscar for his script for AROUND THE WORLD IN 80 DAYS. His direction here works well with the material and the end result is a movie that will not only entertain but have you figuring out just who Nick Beale really is. It's one worth watching more than once.