Hollow Triumph (The Scar) (1948)





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In this forgotten film noir gem, a crook (Paul Heinreid) on the lam after a casino robbery gone wrong thinks he's found the perfect deep cover when he assumes the identity of a psychologist (Heinreid in a double role) who is his perfect double. But when his nefarious scheme to take the innocent doctor's place goes wrong, it proves that in film noir, you can postpone your fate, but you can't escape it.
Art House & International , Drama , Mystery & Suspense
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Paul Henreid
as John Muller
Joan Bennett
as Evelyn Hahn
Leslie Brooks
as Virginia Taylor
Eduard Franz
as Frederick Muller
John Qualen
as Swangron
Mabel Paige
as Charwoman
Charles Arnt
as Coblenz
George Chandler
as Aubrey the Assistant
Sid Tomack
as Artell the Manager
Morgan Farley
as Howard Anderson
Dulce Daye
as Woman
Cyril Ring
as Croupier
Dick Wessel
as Sidekick
Ann Staunton
as Blonde
Mack Williams
as Cashier
Joel Friedkin
as Williams
Benny Rubin
as Cabbie
Constance Purdy
as Mrs. Neyhmer
Carmencita Johnson
as Elevator Operator
Norma Varden
as Mrs. Gerry
Catherine Doucet
as Mrs. Nielsen
Babe London
as Lady with Orchid
Sam Finn
as Patron
Joaquin Elizondo
as Housekeeper
Lyle Latell
as Official
Nolan Leary
as Newcomer
Vera Marshe
as Woman
Henry Brandon
as Big Boy
Thomas Brown Henry
as Rocky Stansyck
Jack Webb
as Bullseye
Franklin Farnum
as Big Winner
Philip Morris
as Doorman
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Critic Reviews for Hollow Triumph (The Scar)

All Critics (1)

Gets over despite an unbelievable plot.

Full Review… | December 13, 2004
Ozus' World Movie Reviews

Audience Reviews for Hollow Triumph (The Scar)

a prelude to the noirish feel of some twilight zone episodes. Joan Bennett is always nice to see onscreen.

jwasu rtesa
jwasu rtesa

Very fine film noir, with Paul Henreid's performance a big plus for the film. Good score, well written dialogue and excellent cinematography. Fascinating story.

James Higgins
James Higgins

The Scar (aka "Hollow Triumph") Starring: Paul Henreid and Joan Bennett Director: Steve Sekeley John Muller (Henreid), a career criminal on the run from vengeful gangsters after a botched casino robbery, finds the ultimate hideout: He remakes himself to take the place of a successful psycho-analyst who bears a strong resemblence to him. However, John fails to take into account that when you take over someone's life, you get the good with the bad. "The Scar" is a somewhat far-fetched film-noir crime drama, but it's well-filmed, well-acted (with a couple of slips into over-the-top melodrama), and tense from beginning to end. Henreid gives an interesting performance as a sociopathic schemer who finds an apparent path to safety and a new life; while co-star Bennett gives a nuanced performance as John's love interest--a character who starts out seeming like a fairly typical secretary for this kind of movie, but which ends up as one of the deeper and interesting characters in the film. What's more, the romance between the two characters actually feels genuine--something very rare in movies--and this makes the viewer feel true sympathy with Bennett's character at the end of the movie. Another thing that makes the film interesting is the recurring theme that no one really cares enough about anyone but themselves to truly notice the world around them. This is what lets John Muller steal a man's life in every sense, and in a suitably ironic twist, this tendency toward total self-centeredness also ends up contributing to John's undoing. After a near-perfect execution of everything leading up to it, the movie falters a bit at the ending. Given that crime hardly ever pays in movies, John clearly will not manage to live happily ever after in his stolen identity. However, the main reason for his Bad End comes about due to what feels more like Script-Dictated Character Stupidity rather than a natural consequence of events; John had the information and means to solve the biggest probem facing his new identity, yet he doesn't even make an attempt to do so before it's too late. (I could justify this lapse with some character psychology and the overall themes of the film--John was too arrogant and greedy to deal with the issue, or [i]he[/i] was too self-centered for the full magnitude of the problem--but it still doesn't make the ending feel quite right.) This is a near-perfect crime drama with an excellent script and decent performances. It's well-worth seeking out, particularly if you're a fan of the film noir subgenre.

Steve Miller
Steve Miller

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