The Stop Button

Devil’s Partner opens with an old man in his shack killing a goat to seal a deal with Old Scratch. The man’s arrangement is simple—his soul for two years.

Wait, two years of what? Shh, watch the movie.

We also never get to see any more of Old Scratch than his hand. It’s effective but given how well the movie does with the makeup—Ed Nelson plays the protagonist, the old man’s nephew, and puts on makeup for the old man part, too–it might’ve been nice to see a more full-bodied cameo.

Anyway.

Cut to nephew Nelson appearing in town, showing up late after his uncle sent him a plea for help. Too late, it turns out. Nelson charms the local lunch counter owner (Claire Carleton, who quickly establishes Partner’s supporting cast is going to put in the acting work) before the sheriff hauls him in. Just to go immediately back on the previous statement—sheriff Spencer Carlisle is pretty bad. Partner’s got some caricature performances, but they’re good ones, and much of the acting is caveat-free solid. But Carlisle’s terrible. He tries, but it doesn’t help.

Carlisle will also have some exceptional leans throughout the film when he plays stoic. While they film something terrible, his ability to lean so hard on air is impressive.

Nelson quickly becomes a trusted neighbor. When service station owner Richard Crane finds himself unable to run the station for a while, Nelson steps up and fills in, mainly as a favor to Crane’s fiancée, Jean Allison, the only person in town Nelson’s uncle liked.

However, as someone points out, Nelson’s dirty old man uncle liked Allison because she’s a comely lass.

We don’t get much insight into the uncle’s character—or lack thereof—but it sure seems like he was an ornery old asshole; no one in town, save Allison, seems to miss him. Not even town doctor Edgar Buchanan, Allison’s dad, who had an arrangement with the old uncle for goats’ milk to alleviate the symptoms of TB patients. It’s kind of wild how unpleasant townsfolk get to one another.

At least before Nelson arrived; he has a way of calming everyone around him, including Allison. Crane’s inability to work and his concerns about some medical issues cause him to retract from Allison, with Nelson awkwardly finding himself filling a similar space in her life as he comforts her. Well, it’s more awkward for Allison because Nelson’s motives are never exactly clear. Occasionally, he’ll have situations where he’s got to take a more active hand, like when town-drunk Byron Foulger (who’s not good so much as delightful) betrays Nelson’s trust, which could potentially lead to trouble with the local constabulary.

It all works out in the end, nice and wrapped up, with Nelson, Allison, and Buchanan giving sturdy and better performances throughout. Crane’s fine at the start, but his arc’s noisy and slight, and Crane’s got no volume control. There’s only so much time the script can give him; maybe it’s more at fault (a lot of his drama occurs off-screen, with Allison recounting it to others).

Other than Crane and Carlisle, all the acting’s fine.

Rondeau’s direction is competent, especially given the budget and limitations. He gives the actors time, but never too much time. Edward Cronjager’s black-and-white photography is gorgeous. It’s a shame Rondeau doesn’t give him anything better to shoot because Cronjager’s clearly on it here. The day for night’s not great, obviously, but when Cronjager gets to really light, he really lights.

Devil’s Partner is a surprisingly competent little horror picture. Nelson and Allison are compelling, sometimes in unison, sometimes at odds, and Rondeau runs it lean.