Nightmare Alley

“Film noir” is a term used to describe the genre of stylish crime dramas released between 1945 and 1960. Subsequently, “neo-noir” was a loosely defined term created to describe pictures that advanced the same sensibility but came after the classic period. Nightmare Alley is a novel by William Lindsay Gresham published in 1946 and subsequently became a 1947 movie starring Tyrone Power. Now Guillermo del Toro has adapted the same story (with Kim Morgan). Truth be told, my expectations were substantially restrained. I wasn’t a fan of his last release, The Shape of Water. However, color me surprised. I was completely captivated by this adaptation. Some of my favorite neo-noirs of the past 25 years include L.A. Confidential (1997), Match Point (2005), Brick (2005), Drive (2011), and Nightcrawler (2014). Nightmare Alley is an outstanding addition that ranks highly on that list.

The crime drama begins within the shadowy world of a second-rate carnival. Bradley Cooper is perfectly cast as Stan Carlisle, a charismatic man of questionable character. Stan takes a job in a traveling carnival owned by Clem Hoatley (Willem Dafoe). The occupants consist of the usual hustlers, grifters, and various sideshows including the unfortunate circus geek (Paul Anderson). Stan begins working with a clairvoyant act that comprises “Madame Zeena” (Toni Collette) and her husband Pete (David Strathairn). Pete becomes something of a mentor to Stan and begins teaching him the tricks of the trade. These methods incorporate cold reading techniques used to extract information from their marks. However, Pete warns never to use these tricks to put on a “spook show” which means channeling the dead. Meanwhile, Stan is attracted to Molly Cahill (Rooney Mara), a fellow carny whose schtick is to allow electrical charges to run through her body. He makes suggestions that improve her act. They form a connection. Then he proposes they leave the carnival together and start a new routine on the road exploiting the craft he has learned. As his approach becomes more and more sophisticated, Stan enters the pantheon of high society. Things get progressively more complicated from there.

The last time Guillermo del Toro directed a production it won the Oscar for Best Picture. That feat is unlikely to happen again. Nightmare Alley hasn’t been as warmly embraced. However, as far as I’m concerned, this is a far superior work. Guillermo del Toro has built a solid reputation on stories about monsters. Although his latest chronicle doesn’t feature any mythical creatures, it still details monsters of humanity. The story may involve unsavory people but it’s gorgeously filmed by cinematographer Dan Laustsen. At the same time, production designer Tamara Deverell recreates a 1930s carnival with authenticity and style. The tale unfolds with the complexities of a carefully plotted saga helmed by a director who knows exactly what he is doing. Every filmmaking decision informs the account which features an extraordinary ensemble of actors, all of which give performances worthy of acclaim. It’s incredible I’ve gotten this far and haven’t even mentioned Dr. Lilith Ritter, a psychiatrist played by Cate Blanchett. The character is a femme fatale in the most classic tradition. I’ve purposefully kept the specifics of her involvement secret so as not to spoil any of the twists and turns of the narrative. The second Lilith challenges Stan at one of his shows, I was enrapt. Every scene in which she is featured is mesmerizing. Ok so honestly, I was engaged throughout. That is the barometer of an entertaining movie. This also happens to be a work of art.

12-23-21