All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Wrong Man
Somewhere...somewhere there must be the right man!
True story of an innocent man mistaken for a criminal.
An innocent man has nothing to fear, remember that.
The "innocent man wrongly accused" is perhaps Alfred Hitchcock's favorite story to tell. Possibly because it was one of his greatest fears, being accused by the same authorities that can strip away your livelihood. Hitchcock would visit this theme in the 1930s with the brilliant 39 Steps and revisit it in different forms throughout his career right up to the 70s with the underrated Frenzy.
It's appropriate then that Hitchcock would pick this story to tell as one of his rare films based on true events. On the surface The Wrong Man looks like a typical film from…
Truth is stranger than fiction at times and the story of Manny Balestrero is certainly that. The retelling of the real-life saga couldn't have fallen into more fitting hands than Hitchcock's who built an entire career off the back of placing the Everyman inside the most difficult of situations.
There is certainly a different feel to what is essentially a docudrama concentrating on the low level details of Manny's life. Instead of the typical Hitchcock tropes that build in carefully delayed moments of suspense the thrills are low key to make us aware of the effects the arrest has on his life. Whether it is his wife suffering her mental breakdown or viewing the jailing process through his eyes we…
#10 in the Reverse Hitchcock Project
The film has an intro from Hitch himself, shown in silhouette, saying this was a different type of thriller than the ones he had done before.
Over the credits we have jaunty dance music, and underneath we see a club band, with maracas, and Henry Fonda on the double bass – a marvellous three minute intro into which to place our man in a recognisable setting.
Then to the subway, and a deserted train (and my goodness doesn’t Jane Fonda resemble her father?), all very ordinary.
I find it interesting that Fonda, by all accounts such a cold man off the screen, can give his characters such warmth and approachability, and so it is…
Wow, Hitchcock had a great decade in the fifties. I mean he was always prolific but his creative output in those years alone is remarkably impressive. Rear Window, Strangers on a Train, Vertigo, North by North-West, he was just churning out hits like nobody's business. Now don't get me wrong, he had some gems in the forties too (Shadow of a Doubt anyone?), but I would argue that the Master of Suspense really hit his stride in this decade. However, The Wrong Man can't quite hold it's own against some of his better work, but even lesser Hitchcock is often pretty damn good.
The Wrong Man begins unusually with Alfred Hitchcock himself introducing the movie as a true story. Henry…
This somehow feels like an odd man out in Hitchcock's filmography. Based on real events, this feels almost like a fictionalized documentary of sorts. It is distant, methodical and dead serious. No snazzy camera angles, no pitchblack humour, just the story and what it contains.
And I loved it.
Fonda and Miles are absolutely breathtaking in this tale of mistaken identity. Their performances suck you in and once you're there they just won't let go. I was 100% invested and that is not something that happens often with films like this. Fonda's transition from desperation to cooperation to complete and utter fear is astonishing and is what makes…
The most terrifying and consequently least enjoyable Hitchcock movie I've seen. It's based on the true story of an innocent man arrested for armed robbery.
I've often heard the famous story that Alfred Hitchcock was once sent by his father to the local police headquarters and put in jail for a while to learn a lesson. Supposedly this fuelled Hitchcock's mistrust of authority for the rest of his life. In The Wrong Man he basically films this fear and I totally understand it now. Henry Fonda's Manny is put in a cell without being able to tell his wife where he is, accused of a crime by witnesses willing to swear that he's guilty and with no way of proving his innocence. All because there's another guy out there who looks like him, like I said, terrifying.
Henry Fonda and Vera Miles are great but even though it ends the way you expect The Wrong Man is a melancholy watch.
Yanlış yere tutuklanan Manny’nin karısı Rose bu strese dayanamaz ve yavaş yavaş aklını kaybeder!
Alfred Hitchcock Unplugged. No birds, no blondes, no Technicolor, no tennis.
Henry Fonda's honesty is the only MacGuffin in The Wrong Man, in that his word amounts to nothing.
Nota = 6,5
A atmosfera criada por Hitchcock é brilhante. As atuações de Fonda e Miles são ótimas, assim como a construção de sua relação.
Os defeitos do filme residem em sua "solução" para o caso criminal e a perda de ritmo no último ato.
Second tier Hitch for sure. Scorsese loves this though—lots of shot-lifts—and I wouldn't be surprised if W. Anderson likes it too.
My new favorite Hitchcock. Henry Fonda is the perfect leading man for Hitch's "fear-filled" thrillers, conveying the powerlessness needed for his character like few other could. There weren't many other Hollywood stars with puppy-dog eyes like his. He surrenders to the heaviness of the camera, which is overtaken and controlled by his accusers. The claustrophobia has never been so expressive, than in this black-and-white docudrama.
All of Hitchcock's Catholic guilt and fear of the police distilled into one brutally depressing film; every shred of hope and joy is stripped from the story, rendering the "happy ending" hollow and impossible to appreciate. Powerful stuff, but hard to enjoy.
the best and unusual Hitchcock
An uncharacteristically muted effort from Hitchcock style-wise, this is an essential work that stands out as being all the more exceptional when viewed in the wake of the film Hitch made immediately prior to it - his remake of The Man Who Knew Too Much. That film is grand, baroque, in *Technicolor,* and replete with the stunning location photography that also characterized 1955's To Catch A Thief.
THIS film is a muted, black-and-white, noir-esque character study that's meticulously well-crafted at every turn, and delves as deeply into the psyches of its characters as the master's unquestioned masterworks of the decade - Strangers on a Train, Rear Window, and Vertigo - did. I can only chalk up its reputation as somewhat…