Tyrone Power became an instant star at 20^thCentury Fox in 1936, in Lloyd’s of London. Ty was their combination of Robert Taylor and Clark Gable. Studio head Darryl F. Zanuck considered him their golden boy, and Ty was still a top star over two decades later, when he died at 44 in 1958. At the peak of his stardom, Tyrone Power pushed to make the bleak film noir, 1947’s Nightmare Alley.

In Nightmare Alley’s opening carny scenes, Tyrone Power is slim and darkly handsome in his white tee shirts, reminiscent of another young hustler on the make, Montgomery Clift in 1951’s A Place in the Sun. Though Power was an intelligent and sensitive actor, I think Tyrone was closer to Rock Hudson in terms of image and talent. Clift played against his looks, until Monty lost them in his car accident; Power played the matinee idol, as Hudson later did.

Yet, Power and Hudson deserve credit for rising to the occasion in later, better roles. Fox studio head Darryl F. Zanuck initially opposed Tyrone’s plan to make 1947’s Nightmare Alley; nearly two decades later, Rock Hudson was also advised against playing a fatalistic role in 1966’s dark sci-fi drama, Seconds. Interestingly, their characters pretend to be something they’re not. Both films had downbeat endings; neither film was given a great release, despite some strong reviews, and both failed at the box office. Today, they are cult classics.

Power’s Stan Carlisle goes from hustling carny to nightclub trickster to faux spiritualist throughout the course of Nightmare Alley. Even Stan senses at some point he's going to trip himself up, yet this slick climber just can't help himself. 

Stan's natural good looks, charm, and gift of gab are both his meal ticket and his downfall. He’s coasted on these gifts, to get him through tough times. Stan has moments of clarity when he admits that he's no good or reveals his true intentions. Then the wall of self-belief goes back up. The moments when Stan truly reveals himself are tantalizing, as they’re like a cloud that passes over his forced sunny vision that what he's doing is just fine. Tyrone Power's charm is just as effortless, yet his subtle glances let you see that Stan’s wheels are turning. Ty’s warm eyes turn hard when things aren't going the hustler’s way, or Stan’s lofty speechifying—are all excellently done. 

Ironically, director Edmund Goulding had just directed Tyrone Power in 1946’s The Razor's Edge, where Power plays a man genuinely seeking spiritual enlightenment. In Nightmare Alley, he plays a man faking spiritual powers throughout, though he's desperately seeking something. As Tyrone Power's Stan becomes all "spiritual," his proselytizing reminds me of Ronald Reagan's speechifying! 

Joan Blondell gives a strong, natural performance as Zeena, Stan's first mark in the film. Joan was 41 when she made Nightmare Alley and there’s no attempt made to hide the fact. Joan’s slightly blowsy looking broad is contrasted by her good heart and straightforward manner, which makes her very appealing in contrast to Powers’ smoothie Stan. Blondell is effortlessly believable; Nightmare Alley and A Tree Grows in Brooklyn should have led to better roles. Instead, the studio system just considered Blondell over the hill.

Coleen Gray goes above and beyond the typical starlet acting turn. Gray is solid and sincere as Molly, the younger carny girl with whom Stan replaces Zeena. Gray's character is decent, if a bit naive. Despite her strong arguments with Stan, Molly just can't say no to him.

Ian Keith as Pete, Zeena’s alcoholic hubby, is both pathetic and chilling in his personal decline. Taylor Holmes gets to run the gamut as the skeptic millionaire, Ezra Grindle, who eventually falls for the psychic’s scam, leading to a powerful climactic scene. The entire supporting cast is strong, playing their roles with conviction.

Stan really slips when he gets mixed up with supercillious shrink Lilith Ritter, played with unnerving steel by Helen Walker. The doctor seems interested in him, but Stan keeps her at arm's length, which may be partly the reason she plays him for a fool. Though Stan sees her recording patients’ sessions, he still comes to her couch to unload. That’s hella hubris on his part to think she wouldn't turn the recording table on him, just because he’s good at charming and conning.

This is Tyrone Power's vehicle all the way, and he's excellent in his star performance as a charismatic heel. Tyrone was at the peak of his physical beauty here and his Stan looks boyish in the beginning, sophisticated in suits and tuxes in mid-film, and then hard living as his deeds catch up to him by the finale. It makes me think that Tyrone Power might have made a marvelous Dorian Gray.

Edmund Goulding does a great job directing. The cinematography by Lee Garmes is striking, a beautiful example of a noir Nightmare, with its takes on carnival life, city nights, etc. The movie is taut, fast-paced, and adult, in great part due to Jules Furthman’s screenplay. Considering William Lindsay Gresham’s novel is much more explicit, it's amazing what made it to the screen. The ending is a bit of a cop out, but that was imposed on the project by the studio.

I’m not much of film noir fan, with all their improbable coincidences, but Nightmare Alley is a riveting character study of a flawed man going full circle, with only himself to blame for his downward spiral and fate.

Here’s my look at the other movie where Tyrone Power played a charming con man, 1957’s Witness for the Prosecution:

https://ricksrealreel.blogspot.com/2020/11/witness-for-prosecution-1957.html

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