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…
Hitchcock by way of Bresson.
The movie open with Hitch telling the audience that the film is based on "actual events". Well I gotta say, that was some terrible police work! That was some terrible lawyering work as well. If this really based on actual events, then the picked a story with some real morons.
Aside from the ridiculousness of the character actions, and the looney bin melodrama, this is a solid exercise in tension.
You feel the unease, many times without any score or sound at all. It's all done with solid acting, and masterful camerawork and editing. I'd love to see the production notes and story boarding for this film. There are a couple of scenes that really brought about a terror in me.
The end is a bit anti-climatic, but this very slow-burn thriller/procedural kept my interest throughout.
Still a little mixed. This time though I noticed the commitment to the true story not only gives it that dryness (which doesn't sit well with me on first watch), but also results in a lot of procedural minitua and process. Those attention to details leads to a feeling of authenticity that becomes quietly compelling in a docudrama way (is this one of the first films in that genre?), right down to highly believable performances and how the case affects and causes a strain on the family. Ultimately it doesn't resonate much for me (more of it being remarkable in execution rather than in story), but it's an interesting aesthetic change for Hitchcock, almost as much as The Trouble with Harry is.
Those moronic cunts. Didn't even look like him.
Though it has a good plot, is well acted and I liked the score it isn't the most exciting film and does tend to drag. Not Hitchcock's finest hour.
This review reportedly contains spoilers. I can handle the truth.
Henry Fonda is good as the wrong accused innocent, one of Hitchcock's favorite subjects. It's more crime drama than suspense, but Hitchcock's scenes of stacking the odds against Fonda are tense and disheartening. It's really well shot in black and white, with Hitchcock's staging and camera angles as impeccable as ever. Fonda's salvation didn't really work for me, but the dissolve from his face to that of the actual culprit is brilliant. The ending shows that Fonda still lost quiet a bit, even though it ultimately ends a bit too cleanly as per what's expected of Hollywood in that era.
To be honest i found it ambiguous. There is a trace of Kafka. Standard noir film but left me with a couple of answered questions.
The Wrong Man generalmente no esta entre las mas conocidas Hitchcock, claro, es dificil llegar al nivel de Psycho o Rear Window pero sin embargo esta es una pelicula merecedora de reconocimientos.
Como su nombre lo indica, la pelicula se basa en la historia verdadera de Christopher Balestrero quien ha sido injustamente acusado de robo. Ya con el titulo pensariamos que todo esta dicho y no hay mas nada que hacer, pues no, la misteriosa actitud de sus personajes hace que creemos en nosotros mismos una intriga que realmente no existe.
El personaje de Henry Fonda esta bastante elaborado, su cara es enfocada frontalmente bastante veces, mas de lo usual diria yo. Mas alla de hablar este personaje con su…
I can't remember the first time I saw Henry Fonda (a bit of research and some vague memories seem to indicate it would have been The Longest Day), yet it seems as if I was always aware of his persona; the "aw shucks" do-gooder, the kind and loving patriarch, the epitome of mister-nice-guy. But look at him; he doesn't have the inviting, classically handsome face of a James Stewart. His features are harsh, sharp, his eyes sunken. In The Wrong Man, there's never any doubt that Fonda is innocent (the title takes care of that), and, for the most part, the role of Manny Balestrero conforms to the model citizen we tend to associate with Fonda. But, early on in…
The Wrong Man is has a dime-dozen man convicted of crime he didn't commit story that we've all seen a million times and have no issue predicting the outcome of. With Hitchcock's typical mix of restraint and flashes of style, this becomes something more intriguing and a little intense. Hitch gets a stripped down performance from Fonda, and with his slow descent into fear nicely matched with Hitchcock's camera work (that prison cell scene is brilliant!), it brings the most out of the cliched story. If not for Miles' ruining the momentum with her character's downfall this would have been a far greater copybook thriller than it ends up becoming, but the skill from Hitchcock and Fonda cannot be denied.
Yanlış yere tutuklanan Manny’nin karısı Rose bu strese dayanamaz ve yavaş yavaş aklını kaybeder!
In early June, 2013, my best friend killed herself.
She took a cab to the middle of nowhere and vanished,…