Alternate Best Actor 1949: Ray Milland in Alias Nick Beal

Ray Milland did not receive an Oscar nomination for portraying the titular character of Alias Nick Beal, or so he says. 

Alias Nick Beal retells Faust in the then-modern setting through the style of a film noir. 

For much of the film, we follow district attorney Joseph Foster (Thomas Mitchell) as he tries to take down a crime boss. His best source is a mysterious man who called himself Nick Beale, you might find him a little suspicious as he appears quite eerily on a foggy dock and whistles in a rather peculiar way. Ray Milland was a performer with style, and when locked in had a way about the screen like few others. Milland comes into the film with this style as he just casually dominates the film the moment he wanders into a strange bar speaking in enigmatic tones and Milland delivering every word with otherworldly confidence. Mr. Beal offers what is too good to be true to Foster, exactly the evidence he needs. Milland is brilliant in the ease of his manner as he talks about his lead, as he very well just might be an intelligent journalist with a natural calm, of course, it may be more as there's just enough of a glint in Mr. Beal's eyes. Of course, the evidence is slightly illegal, and as much as Beal's offer is simple, when Foster questions what it is for, it is out of sight where Milland's eyes fixate on the idea of Foster breaking his moral code and taking the evidence, after all having claimed he'd be willing to forfeit his soul to nail the crime boss. 

Milland makes an initial potent impression and leaves a cold chill on the film with the way he suddenly appears quite unexpectedly again. Despite the unexpected entry, Milland is brilliant by not overplaying any obvious sinister quality as he talks with Foster. Milland's ease actually is what seems to create a certain chill in the air, just in the sheer confidence of it all. Milland though doesn't immediately surprise rather he plays with a sense of the interaction, as there is a genuine charm Milland brings as he speaks a strange kind of admiration for Foster, particularly when it seems like Foster may be showing any morality. Milland's manner is dishonest yet convincing as he praises Foster for the seeming integrity of the man, as he insists he'll admit to his shortcuts before running for governor. Beale disappears again only instead seeming to look for the potential use of a woman of a certain repute. Milland speaking towards her looking for a service, though in his expression isn't that of a man looking for lust for himself but rather a greater plan. Milland's lack of hesitation at any moment, is so remarkable, as he presents Beal as a man who just seems to know. When he blackmails her with an earlier crime, Milland doesn't lose a breath or even need to force the more nefarious intent, he just mentions it as though it would be natural for anyone to have such crimes in their past. 

What Milland does is wholly realize the suggested concept of Faust meets film noir. Milland gives an immensely stylish performance that is so distinctly in the shadowy tone of the noir, and with such an innate power and menace that is so fitting to a noir. Milland displays this natural power of persuasion in every moment of breaking down Foster's morality. When he pushes for his hired hand in the prostitute whom he instructs in her method to take Foster down more. Milland brings this distinct sense of joy in breaking down the act for her giving her the cues and presenting this all as Beal's true joy in his existence. Milland though is just mesmerizing to watch here in the distinct style he brings. The way his eyes go about a scene with this omnipotence but also how he always stands in a way where he isn't quite part of a scene exactly. His manner is entirely separate from anyone other than his own. Milland creates Beal as this force within the film who captivates with such ease and in turn; Milland captivates the viewer with such ease here as well. 

Milland's performance, if one hasn't guessed so far in this review, is the devil. Milland's performance though is all about not playing into any obvious choice in playing him as the sinister force. Rather Milland presents Beal with a decidedly modern bent, even beyond the time which features his performance, by presenting the state of the man more so as a political power broker than any kind of trickster, though he is that in reality. Milland presents his Beal's trick though as something slicker and in a way more appealing to most, by just suggesting the amoral choices with the panache of the greatest of salesmen. Milland is more smooth than obviously wicked as he does command every frame he's onscreen, however, it is with that ease and strange kind of grace even. Beal's temptations presented with just a sly and eager understanding of the situation. There is no reason to second guess Beal's offering because Milland makes the offer as something that just seems to innately make sense and even while his glare speaks towards a man who is getting more of it than he is claiming, the claim he's making seems so insignificant in the modern day. The only break in this are moments where others attempt to treat him as any sort of man by touching him or making offers to him. Milland uses these moments brilliantly in a way to reveal himself most by presenting such direct disgust towards them as though they aren't just lower than him, they are lower beings not worthy of approaching what he is. Milland's reinvention of the devil here is exceptional, and I would say likely influential to other later versions, because he is a man with horns, however hidden within a charismatic veneer, a true seductive quality that isn't at all the obvious fiend.