. “The story of a man who murdered himself-and lived to regret it!” read the poster for The Scar (retitled Hollow Triumph), a melodramatic thriller with a doppelgänger motif. 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) the mobster adopts after murdering him. John Alton's cinematography, as ever, draws out the low-key menace of Los Angeles locales as he “paints with light.” But the cynical showstopper is Joan Bennett, as the psychiatrist's secretary, when she announces, “The older you get, the worse things get.” From there, it's a short L.A. hop to the deliciously downbeat ending suggested by the new title.