This Erich von Stroheim vehicle exemplifies the pleasures afforded by “B” films by talented individuals early in their career, when, lacking budget, invention is necessity. The setting (“Mexico, 1936”) and vaudeville stage milieu, not to mention the presence of Stroheim, conspire to make this forties film noir appear to be an older film than it is. But look again. Since you won't be too distracted by the story-Pittsburgh girl meets vaudeville marksman-magician, girl tricks said trickster, girl meets the Great Trickster, backstage in Mexico City, all told in flashback by a dying man to a clown; that old yarn-you can thoroughly enjoy the technique. Like the magician himself, Mann does it with mirrors, shadows, and a little smoke.