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 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.