Fred Allen

Hollow Triumph (1948, Steve Sekely)

Calling Hollow Triumph a vanity project for star (and producer) Paul Henreid might be a little too easy. He does play a guy who decides to murder someone who looks just like him–sadly, Daniel Fuchs’s script doesn’t have much fun with Henreid in the dual roles. In fact, Fuchs only gets in one joke–at the very end after everything has gone to pieces–and it’s not funny enough.

There’s a certain amorality to the film, which I suppose is mildly interesting. Henreid–in the protagonist role, not the double role–is a mildly successful crook, but one whose intelligence has led him to delusions of grandeur.

The opening ten or fifteen minutes are a boring heist gone wrong. Director Sekely is uneven. While Triumph does have a couple excellently directed sequences, it’s mostly medicare. Same goes for John Alton’s photography. Sometimes it’s great, sometimes it’s not.

Anyway, Henreid’s on the run and comes across a psychoanalyst who looks just like him. He plots the double’s murder. That portion of the film is somewhat successful. Also successful is Joan Bennett as the love interest. Fuchs’s dialogue for Henreid and the male characters tends to be too declarative, too obvious, but he writes well for Bennett’s character.

Until the end, when all the foreshadowing starts bumping into itself and Triumph’s ending becomes obvious.

Henreid’s fun to watch at times, but only for his absurd Austrian gangster bit. But he’s way too affected to take seriously.

Kind of like Triumph.

1/4

CREDITS

Directed by Steve Sekely; screenplay by Daniel Fuchs, based on the novel by Murray Forbes; director of photography, John Alton; edited by Fred Allen; music by Sol Kaplan; produced by Paul Henreid; released by Eagle-Lion Films.

Starring Paul Henreid (John Muller / Dr. Bartok), Joan Bennett (Evelyn Hahn), Eduard Franz (Frederick Muller), Leslie Brooks (Virginia Taylor), John Qualen (Swangron), Mabel Paige (Charwoman) and Herbert Rudley (Marcy).


Berlin Correspondent (1942, Eugene Forde)

Fox did the best 1940s propaganda films. Cranked them out, I imagine. I’ve only seen a couple others and then Hitchcock’s awful effort, Saboteur.

Berlin Correspondent might steal its name from Hitchcock’s excellent Foreign Correspondent but that’s about it. Foreign is sort of globetrotting. Berlin is… Berlin-trotting. Dana Andrews is great, as Dana Andrews usually is, and the female lead is decent: Virginia Gilmore. She did very little, but she’s kind of like the Fox-variant of Jane Wyman. Sig Ruman shows up in a funny part and there’s a great Nazi bad guy (Martin Kosleck, a native German who left when the Nazis came into power).

Berlin Correspondent runs almost seventy minutes and is never boring. The film asks the audience to accept a great deal of stupidity, but it’s fine. We invest in the performances and the promise of an amusing diversion. It’s a film that exemplifies the lost genre of a good way to waste some time….

(Though I did have schoolwork to do, so I didn’t actually have any time to waste).

1.5/4★½

CREDITS

Directed by Eugene Forde; written by Jack Andrews and Steve Fisher; director of photography, Virgil Miller; edited by Fred Allen; music by David Buttolph; produced by Bryan Foy; released by 20th Century Fox.

Starring Virginia Gilmore (Karen Hauen), Dana Andrews (Bill Roberts), Mona Maris (Carla), Martin Kosleck (Captain von Rau), Sig Ruman (Dr. Dietrich), Kurt Katch (Weiner) and Erwin Kalser (Mr. Hauen).


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