The Worst Film Ever

Don't listen to the Hype. It's awful

best movie i've ever seen.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

(Flash Review)An intelligent ex-con is released from prison and eager to catch a quick score. He persuades his old small-time crook buddies to go in with him to rob a casino. Even back in the 40's casino's had muscle so of course things don't go as planned. The main guy escapes, while 'the muscle' hunts down others; even out of the country. The main guy spots a look-alike and he takes his life, then his identity. The crux of the movie is not to trust your local photography print maker as the ex-con needs to carve a scar onto his face to match the guy he took his identity from. However, the print shop printed the photo reversed! Whoops! How long can he keep the deception going while he interacts and does the job of this other man? Overall, the story was a bit vague in spots and really great in others. A clever little film noir tale.

The temptation to quote "Young Frankenstein" with Marty Feldman's moving hump ("What hump?") that goes from side to side made me chuckle with this serious film noir of a sinister career crook (Paul Henreid) who takes over the life of his look-alike. Heinreid's second character is a psychiatrist who seems to do nothing but let the rantings of rich old dames go in one ear and out the other as he whiles away his free time chasing his world-weary secretary (a marvelous Joan Bennett) and gambling with a society dame (Leslie Brooks). Little does the crook (hiding from the owners of a gambling house he robbed who have already killed his on-the-run partner and quickly locate him) know that the psychiatrist has his own demons and this leads to an ironic conclusion that is straight out of "Algiers".Bennett, an outstanding leading lady of three decades of film who later took daytime T.V. by storm, had so many different eras in her career, from the fragile blonde of the 1930's to the Hedy Lamarr look-alike in a series of melodramas (utilizing that Susan Hayward husky voice that tells the men out to use her, "Do it at your own risk") to the wife and mother of the 1950's. She is certainly riveting to watch, perhaps second to Stanwyck as a film noir black widow, yet sometimes vulnerable in spite of her toughness. "I'm tired of knowing all the answers", she tells one of Henreid's characters here, and with that statement, she reveals a lot about human nature which we sometimes don't face about ourselves. She's sick of being sensible and not taking risks, and for that, you really want to see her triumph.Henreid plays two extremely amoral characters here, showing that there's a darkness to both the world of the supposed wrong and the world of the supposed right. Don't expect the romantic leading man of earlier Warner Brothers potboilers, although one sequence is straight out of "Now Voyager". This makes it tough to sympathize with either one, but somehow, you end up rooting for him, even if it is more for the sake of Bennett than either of Henreid's characters. Mabel Paige is sweet and touching in her brief moment as a charwoman who brings out a bit of humanity in Henreid's crook, and the always unforgettable Norma Varden gives a memorable cameo as one of the psychiatrist's patients. There's also the recurring presence of the dependable John Qualen in another one of his pathetic characters who finds he's in the wrong place at the wrong time and never understands what's going on.As directed by the obscure Steve Sekely, "Hollow Triumph" is one of those film noir that manages to be intriguing even if the plot is a bit hard to take because of its absurdities. The presence of Joan Bennett may not stir up memories of her dark dames from "Woman in the Window" and "Scarlet Street", but there's enough darkness in her basically decent character to make her totally engaging and extremely identifiable.

If you can buy the premise—a hunted guy finds his exact double and takes over the double's life—the rest follows pretty effectively. Writer Dan Fuchs is much underrated and a prime contributor to Hollywood's noir period. The screenplay is more cynical than usual for the genre. Catch how many times comely secretary Evelyn (Bennett) complains about never expecting anything from life; or the guy talking about people being so self-absorbed they don't even know the color of their wife's eyes; and, of course, there's that desolate ending.Then too, the self-absorption is underscored by the fact that no one even notices that Muller/Dr. Bartok's scar has changed location on his face. Not even those closest to him. The exception is the humble old charwoman, which is why the arrogant Bartok embraces her in a sudden moment of appreciation. I also like the little garage guy's big dream of becoming a sleek ballroom dancer. He has no chance, of course, but it helps him cope. Except for the contrived premise, it's quite a provocative and, at times, touching screenplay.Frankly, Henreid's a little too impassive in the title role to grab attention. However, the script's pretty strong, so I don't think it really hurts the movie, but it doesn't help, either. Alton's expert noir photography helps lift the visuals to a compelling level. At the same time, I doubt that fate has had a stronger role than in this film, along with an ending among the most devastating in all noir. All in all, the production remains a solid noir entry.

Before I begin to discuss the plot, I've gotta get something off my chest. I HATE the cliché in movies when someone is attacked and they NEVER call out to their compatriots for help or to alert them that they are under attack. It's often used in James Bond films (among many others) and is just plain stupid. So, early in "Hollow Triumph" when a robber is caught by one of the gambler's henchmen and he does NOT yell for help, I could see that the writer was just lazy.As for the rest of the film, it's actually pretty good--and it's interesting seeing Paul Henreid playing such an amoral and selfish person--the sort of role you would expect for Henreid (who usually plays nice guys). He also served as the film's producer."Hollow Triumph" begins with Henreid being released from prison. You learn that he's a career conman and robber--and the warden has absolutely no hope that he's learned his lesson. And, true to the warden's prediction, Henreid immediately plans his next robbery. However, the usually brilliant con makes a very stupid decision--to rob a gambling joint run by a VERY tough mug. Two of the men are caught and after being beaten and confessing who their accomplices were, they are murdered. Now, the gambler sends his men to find and kill the other two--no matter how long it takes. One is eventually tracked to Mexico and slain...and Henreid knows he's next unless he comes up with a good scheme. And, he decides to change identities--becoming a psychiatrist who is well-respected. Can the plan work or is Henreid due to soon assume room temperature himself? The film, aside from the cliché I already mentioned, actually was a nice example of lesser-known film noir. Henreid is very good as his Joan Bennett--and the film is quite tough. I also liked that one of the young heavies was Jack Webb--in his first film. Well worth seeing.