That was an excellent one.

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Exactly the movie you think it is, but not the movie you want it to be.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

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.

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.

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.

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.