Hollow Triumph (1948)

Pursued by the big-time gambler he robbed, John Muller takes a new identity, with ironic results.

Directors:

Steve Sekely, Paul Henreid (uncredited)

Writers:

Daniel Fuchs (screenplay), Murray Forbes (based upon a novel by)

Stars:

Paul Henreid, Joan Bennett, Eduard Franz

Cast

Complete credited cast:
Paul Henreid	...	John Muller / Dr. Bartok
Joan Bennett	...	Evelyn Hahn
Eduard Franz	...	Frederick Muller
Leslie Brooks	...	Virginia Taylor
John Qualen	...	Swangron
Mabel Paige	...	Charwoman
Herbert Rudley	...	Marcy
Charles Arnt	...	Coblenz
George Chandler	...	Aubrey - Assistant
Sid Tomack	...	Artell - Manager
Alvin Hammer	...	Jerry
Ann Staunton	...	Blonde
Paul E. Burns	...	Clerk (as Paul Burns)
Charles Trowbridge	...	Deputy
Morgan Farley	...	Howard Anderson

Storyline

John Muller, medical school dropout and brilliant crook, plans a holdup which goes a little bit wrong, and finds vindictive gambler Rocky Stansyck after him. At the end of his tether, he stumbles onto a lucky chance to assume an impenetrable new identity as psychiatrist Victor Bartok. But irony piles on as Muller finds it's out of the frying pan, into the fire.

---

Plot Keywords:

independent film | scar on face | impersonation | damsel in distress | held at gunpoint | 

---

Taglines:

""I'm sick and tired of being wise, rotten and dirty"! (original print ad)

---

Genres:

Crime | Drama | Film-Noir | Thriller

---

Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

3 February 1949 (Mexico)

Also Known As:

The Man Who Murdered Himself

Filming Locations:

Hotel Belmont, 251 S. Hill St., Bunker Hill, Downtown, Los Angeles, California, USA

Company Credits

Production Co:

Bryan Foy Productions

Technical Specs

Runtime:

83 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Fourth-billed Leslie Brooks does not appear until one hour into the film and sixth-billed Mabel Paige does not show up until the 1:16 mark.

---

Goofs

The position of the file that John Muller was reading in Dr. Bartok's office file cabinet changes position between shots.

---

Quotes

Evelyn Hahn: Don't take too much for granted. A girl has to have a social life.
John Muller: The things that come out of that sweet baby-face of yours.
Evelyn Hahn: Don't run away with yourself. Take it easy.
John Muller: Why do I like you?
Evelyn Hahn: My baby-blue eyes.

---

Soundtracks

Blue Danube Waltz
(uncredited)
Written by Johann Strauss
Whistled by Muller's workmate at the garage

User Reviews

A Bit About Mr. Henreid

I'm commenting here only about some of the rather silly comments expressed elsewhere about Paul Henreid. First of all, he wasn't "Hungarian/French/American", but Austrian/American, born a member of the Austrian nobility in Trieste and raised in Vienna. His original name was too long to reproduce here, but he first acted under the name of Paul von Hernreid. Several have mentioned his THICK accent, but he has almost no accent at all in most of the film, and what accent remains is so light as to be indeterminable (almost the kind of Continental European accent one can hear in Audrey Hepburn's speech when she's not making a determined effort to speak English with no accent at all); whatever the accent may be, it is certainly not "thick"! And his brother in the film is played by American Edward Franz, who very often played roles in which he had no definable accent but seemed to be speaking with one just the same(!). That is pretty much the way I heard him in this film, too. Others claim Henreid was trying to change his good-guy image, but he had already done that several times in films, most especially as Nazis in two English-made films (one of which being the quite notable NIGHT TRAIN TO MUNICH) prior to arriving in the U.S., and concurrently with this film he appeared in ROPE OF SAND as one of the most despicable villains of the late 1940s (at one point, he blinds Burt Lancaster by forcing his head into the sand, and then tries to run over him with a truck!). As with at least a few of the commentators, I usually find that Henreid lacks a certain amount of star charisma, but he seems to have more of it in this film than in any other of the thirty or so films I've seen him in. Ironically, it is in what is probably his least-known starring role effort. Too bad.