"The story of a man who murdered himself-and lived to regret it!" read the poster for The Scar (re-titled Hollow Triumph), a melodramatic thriller with a Doppelgänger motif and a deliciously downbeat ending. This was the debut production of Paul Henreid, normally a romantic lead, who must have enjoyed casting himself against type, twice, in the dual role of a calculating mobster and the playboy psychiatrist whose identity (and facial scar) he adopts after he murders him. John Alton's cinematography, as ever, draws out the low-key menace of Los Angeles locales. But the cynical show-stopper is Joan Bennett, as the psychiatrist's secretary, when she announces, "The older you get, the worse things get." In Hollow Triumph, as Errol Morris observed, "even a change in identity does not engender a change in outcome...Despite (all his) maneuverings, the outcome is assured."