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The Triumph of the Rat (1926)

The rise of The Rat, an Apache from seedy Montmartre bars, to the gentleman status of Pierre Boucheron, and his fall to lower than an Apache - all by the hands of a beautiful girl he did not love.



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The rich, amoral Zelie is married to Pierre Boucheron, "The Rat" - but her interest in another man is an open secret. Forced to defend his honour, the Rat takes refuge in his old domain of ... See full summary »

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Complete credited cast:
Pierre Boucheron / The Rat
Nina Vanna ...
Countess Madeleine de L'Orme
Julie Suedo ...
Mère Colline / The Landlady
Gabriel Rosca ...
Charles Dormer ...
René Duval
Adeline Hayden Coffin ...
Duchess de L'Orme (as Adeline Hayden-Coffin)
Lewin Mannering ...
Count Henri Mercereau


Pierre Boucheron, alias 'The Rat' and a former underworld notoriety, is now living the high life as the kept man of Zelie de Chaumet. But when she learns he is planning to marry another woman, her vengeance pursues him into the murkiest depths of Paris... Written by Igenlode Wordsmith

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Release Date:

21 March 1927 (UK)  »

Also Known As:

'Rotten's Triumf  »

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Production Co:

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Referenced in Partners in Crime: The Sunningdale Mystery (1983) See more »

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User Reviews

Cutts and Young - beautiful losers
30 April 2017 | by (France) – See all my reviews

There is certain injustice in the fate of certain directors and cinematographers and both Graham Cutts and Hal Young (who also filmed The Lodger) do a very fine job in this film that makes their subsequent slide into oblivion seem extremely harsh if one compares with the subsequent success and vast, but only partially deserved, reputation achieved by their Gainsborough colleague, Alfred Hitchcock.

Novello's writing and acting are both blandly elegant and gruesomely mawkish by turns, but passable if one can endure the actor's old-fashioned music-hall penchant for "facials", but it is the camera that is the real star of this film and, at times, as in the ball-scene, it produces something rather fine that actually deserved a somewhat less trivial script and a somewhat less self-indulgent star.

If the German industry would be massacred by Hitler, the British industry would be pared (if also, in a manner, saved) by the quota quickie and in both cases the casualties in terms of directors and cinematographers would be many. The survivors were not always necessarily the best or not always at any rate so significantly better than those who failed to survive.

The key to surviving, and indeed thriving, in a difficult ambiance lay in seizing on and capitalising on what slender opportunities were available. making of a film is always teamwork but the balance of power between the various members of the team is very variable. A supposed "auteur" of a film is perhaps a fine artists but also not infrequently a thief and a bully.

In this film the fine work is done by Cutts and Young but it is never THEIR film as much of their work simply subserves the antics of Novello.. The film belongs therefore in a sense, rightly or wrongly, to Novello. Compare this with The Lodger (not in the first place written by Novello) where the partnership between Hitchcock and Young could hardly be closer and Novello gives a much finer, more restrained performance. But here the film belongs unequivocally to Hitchcock.

Survival was also a matter of temperament, self-publicity, opportunism, ruthlessness and an eye for the main chance and Hitchcock was a champion in all those respects. But one should occasionally pause to salute the best work of those who fell by the wayside.

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