Comments on: Hollow Triumph (1948): Baroque Noir

By: FilmsNoir.Net Top Ten Posts | film noir

FilmsNoir.Net Top Ten Posts | film noir — Tue, 16 Nov 2010 06:58:29 +0000

[...] Hollow Triumph (1948): Baroque Noir [...]

By: Tony D'Ambra

Tony D'Ambra — Tue, 03 Nov 2009 21:20:30 +0000

Luck you Mark! Wish I could have been in DC too :( Great to have your comment. Have you seen any other of the movies in the series?

By: Mark

Mark — Tue, 03 Nov 2009 19:10:54 +0000

I just saw this as part of the NoirCity DC series. Beautiful, restored print. Great cinematography. Henreid was really intense. Joan Bennett gave depth to her role. Some might think the ending a bit soapy, but I found it really poignant. Definitely a more baroque, melodratic noir, but highly recommended nonetheless.

By: Tony D'Ambra

Tony D'Ambra — Tue, 17 Mar 2009 21:25:19 +0000

Yes Edward, only the French at the time had any real appreciation of ‘film noir’ as an aesthetic. Thanks also for your as always valuable contribution to this thread!

By: Edward Yablonsky

Edward Yablonsky — Mon, 16 Mar 2009 01:01:07 +0000

I read a very diastorted review of this noir as meoldrama? Not hardly at all.
HTTP://MOVIES.NYTIMES.COM/MOVIE/REVIEW?RES=9400E2DF103AE33BBC4151DFB6678383659EDE

This was done in 48 and the reviewers still did not understand the genre,I do believe. Eagle Lion Films produced this Noir initially.Henreid as a toughie not previosuly discernible in his other refined continental roles is correct. That was his brilliance of versatile role playing. It is the discovery of a crinminal type, to be sure. A former med student impersonating a psychiatrist is rather a novel plot and leaves imaginative license full of possibilities.The failed redemption is Noir tapestry at its best and enthralling, and is undervalued by the stock label of melodrama.

By: Sam Juliano

Sam Juliano — Wed, 11 Mar 2009 21:33:40 +0000

Just returned again to this thread. Things are really getting exciting around here, and I also look forward to seeing more comments from Steve, Edward and the other great writers here. This great site is really taking off, as well it should!

By: Tony D'Ambra

Tony D'Ambra — Wed, 11 Mar 2009 11:45:59 +0000

“The noir tapestry allows no light in a universe devoid of redemption. The topography further inundates the empty and vapid canvas of noir world depictions especially the past that cannot be purged , the heist gone wrong. The irony of even imagining redemption and the cruelty of a universe cutting it short as abortive failure just at its seeming hope.”

Great stuff Edward!

By: Edward Yablonsky

Edward Yablonsky — Wed, 11 Mar 2009 09:58:49 +0000

But the imperatives of the noir universe dictate that his one-minute-to-midnight failed shot at redemption is as dramatic and ironic as it is pathetic. On the journey to perdition we traverse a noir topography redolent with noir archetypes: the unreformed con, the old gang coerced into a fateful big heist that goes wrong, the savage intimidation of underlings, life on the run, and the machinations required to find an out from a past that is getting ever close and will not go away

I found the above quote right to point. The noir tapestry allows no light in a universe devoid of redemption. The topography further inundates the empty and vapid canvas of noir world depictions especially the past that cannot be purged , the heist gone wrong. The irony of even imagining redemption and the cruelty of a universe cutting it short as abortive failure just at its seeming hope.

By: Tony D'Ambra

Tony D'Ambra — Tue, 10 Mar 2009 21:41:46 +0000

Hi Steve. Thanks for your visit.

The noir ending of HT is pretty typical where there is a strong ‘amour fou’ element in the story, and it is interesting that you mention ‘Algiers’, as it is a remake of Pepe Le Moko filmed in France the year before with Jean Gabin. Pepe is one of a series of French films of the late 30s that are seen as part of a movement of dark moody films of urban angst known as ‘poetic realism’, which is considered by many as a precursor to film noir.

Another coincidence! When Joan Bennett first appears in HT, I did a double-take thinking I had got the leads wrong and that she was Hedy Lamarr…

I look forward to more comments from you Steve.

By: Steve

Steve — Tue, 10 Mar 2009 16:49:50 +0000

Hi Tony,
Wow, I just watched, “Hollow Triumph”, as “The Scar” last night and happened upon your site link from another blog. What a coincidence.
I will not suppose myself to be any kind of an expert on noir films, but I liked this one. Your review of style and substance of film noir is educating.
**** [Possible spoiler alert]**** However, the end of HT immediately reminded me of “Algiers” with Boyer/Lamar. I’m sure you know what I’m referring to. On top of that, throughout the film I was struck by how much Joan Bennett looks like Hedy Lamar. But then a lot of 40s actresses seem to resemble her. Must be that center part of the hair thing. Since “Algiers” was made 10 years prior to HT, I was curious if those similarities have been explored before. Was Henreid borrowing or were similarities in film of that day just as common as today’s plot and scene borrowing? I know from reading the TCM link that Bennett was not Henreid’s first choice, so the Bennett/Lamar connection was probably just coincidental.
I’ll return to your site often as I’m just starting to get that noir hook and am looking for other films to enjoy in this genre. Thanks for being here.