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.

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.

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!

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.