Sorry, Wrong Number
1948 Directed by Anatole Litvak
Synopsis
Helpless ... alone ... she heard her own murder being planned on the telephone!
Leona Stevenson is confined to bed and uses her telephone to keep in contact with the outside world. One day she overhears a murder plot on the telephone and is desperate to find out who is the intended victim.
Cast
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Based on a radio play of the same name, Sorry, Wrong Number tells the story of Leona Stevenson (Barbara Stanwyck), the bedridden daughter of a millionaire who, whilst waiting for her husband Henry (Burt Lancaster) to return home one night, overhears a conversation on the telephone in which she believes that someone is plotting to kill him. Frantically, and attempting to keep her Cardiac Neurosis at bay, she makes a number of telephone calls to try and decipher what is going on and find out whether her husband is safe or not. As the mystery builds and the clues stack up, Leona begins to realise that all isn’t as it seems as she finds herself plunged into a World…
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Wow, that final scene is great, more than makes up for some of the films flaws - it's labyrinthine plot is at times confusing, and the film shows its radio origins in that it's very talky in its exposition. But its a real joy; I'm somewhat biased as Stanwyck and Lancaster are probably my two favourite classic actors, and they're in good form here, even if Lancaster's character is sketched very broadly, and Stanwyck's is a little hysterical, they both do well with what they've been given. But the way telephones are used for suspense is marvellous and again, the ending scene is a knockout - perhaps rivals Some Like It Hot as the best final line in a film, ever.
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This was a pleasant surprise.
One of those films where the more you know, the more desperate the situation becomes. As the truth slowly comes out, mostly through flashbacks, the tension ratchets up to almost unbearable levels before hitting you with a gut punch of an ending.
This is a film with many stand out scenes, many of which are conveyed verbally, but my personal highlight was the chilling revelation of the location of a phone number.
Barbara Stanwyck is on fine form, and you really begin to care about her plight as it builds to its inevitable conclusion.
Franz Waxman's score is a peach, as well.
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A good noir thriller that uses its short length to be consistently enthralling despite feeling somewhat slight. Stanwyck is strong although the heightened nature of the performance isn't my favorite of hers and so far I prefer her comedic work. Overall, a good film but nothing too special.
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Bed ridden stanwyck hears half of a phone call ona crossline and thinks it is the planning of a murder. Her investigation into that and the activities of husband Lancaster slowly uncover a dangerous web of crimes.
Neither Lancaster or Stanwyck play at all likeable characters here, there is something interesting to see in stanwyck's determination to get what she wants and in the weakness on show from Lancaster but you can't really care what happens to either of them.
That would be fine, a lot of Noir's are like that but you also always feel a little bit ahead of the exposition heavy plot which makes it something of a genre exercise rather than anything genuinely engaging. That said…
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Wow, that final scene is great, more than makes up for some of the films flaws - it's labyrinthine plot is at times confusing, and the film shows its radio origins in that it's very talky in its exposition. But its a real joy; I'm somewhat biased as Stanwyck and Lancaster are probably my two favourite classic actors, and they're in good form here, even if Lancaster's character is sketched very broadly, and Stanwyck's is a little hysterical, they both do well with what they've been given. But the way telephones are used for suspense is marvellous and again, the ending scene is a knockout - perhaps rivals Some Like It Hot as the best final line in a film, ever.
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This was a pleasant surprise.
One of those films where the more you know, the more desperate the situation becomes. As the truth slowly comes out, mostly through flashbacks, the tension ratchets up to almost unbearable levels before hitting you with a gut punch of an ending.
This is a film with many stand out scenes, many of which are conveyed verbally, but my personal highlight was the chilling revelation of the location of a phone number.
Barbara Stanwyck is on fine form, and you really begin to care about her plight as it builds to its inevitable conclusion.
Franz Waxman's score is a peach, as well.
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A classic film where nothing happens in the film since most of it is flashbacks until the tight, tense end of it. I didn't like any of the characters in the film but I enjoyed the film.
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WOW this is a shocker. Fabulous work, bloody terrifying!
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The script is a bit of a dud, but Lancaster and Stanwyck perform admirably with what they were given. I still have a hard time buying someone as explosive as Stanwyck as completely helpless. It's like Mitchum playing the dope in Angel Face.
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A wonderful little noir thriller highlighted by a great performance by Barbara Stanwyck. Like many other films of the genre it is told mainly in flashbacks which leads to an ending one might not expect.
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Based on a radio play of the same name, Sorry, Wrong Number tells the story of Leona Stevenson (Barbara Stanwyck), the bedridden daughter of a millionaire who, whilst waiting for her husband Henry (Burt Lancaster) to return home one night, overhears a conversation on the telephone in which she believes that someone is plotting to kill him. Frantically, and attempting to keep her Cardiac Neurosis at bay, she makes a number of telephone calls to try and decipher what is going on and find out whether her husband is safe or not. As the mystery builds and the clues stack up, Leona begins to realise that all isn’t as it seems as she finds herself plunged into a World…