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…
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…
#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…
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.
Hitchcocks most sober film. Fondas finest hour.
Hitchcock presents Law & Order.
Uomo comune accusato ingiustamente di alcune rapine,
per una serie di incredibili coincidenze, non riesce a provare
la propria estraneità ai fatti.
Da una storia realmente accaduta, ad Hitchcock interessa esaminare
l'individuo comune schiacciato da un meccanismo inesorabile
e muovere una critica sulla deriva economicamente insostenibile dell'America
di allora, prodromo di quella di oggi.
Not one of Hitchcock's better films - the plot just seemed so thin ... seemed like there was some kind of conspiracy that went unexplained.
A pretty good film. Despite what some might consider to be a slow pace, it was still extremely engaging. Hitchcock has a talent to still create tension and desperation without having people guessing who dunnit. Henry Fonda was pretty good, communicating a lot with his eyes and body language, although I would've preferred for him to be more emotional in some moments. But still, I think it was a great look at the psyche of someone who's been wrongly accused. I'm still not sure about how the mental state of Fonda's wife was handled or executed, but I still liked this a whole lot.
(update: this seems very harsh, but my reaction is my reaction...I appreciated it a lot more the first time I saw it years ago. Maybe I'd like it again at some point in the future.)
Among Hitchcock's central themes, the "wrong man" trope has never been one of my favorites, but at least in other pictures it is used as part of a deeper and more complex idea (for example: in Strangers on a Train, the wrong man isn't actually so innocent, while in North by Northwest mistaken identity leads to other things). Here, it's just about the true crime juiciness of it all. Hitchcock insists on the facts of the story, and I have no interest in looking deeply…
Despite what Hitchcock says in the intro, fiction is a lot stranger (and entertaining) than fact, in this case. Hitchcock released 6 films between 1954 and 1956, and this is probably the least of them. It's also the only one filmed in black and white, which is a little misleading. It looks like a film noir, but it really doesn't feel like one (our wrongfully accused hero is anything but hard-boiled). This is my 21st Hitchcock film, and deservedly so.
For completists only, everyone else watch My Cousin Vinny again.
An interesting concept, but nothing extraordinary from Hitchcock. While it has some interesting camera work and some nice shots, it lacks the suspense one would hope for from the master.
Film #3 of Noir-vember
I've never seen a bad Hitchcock movie. I've never even seen an uninvolving Hitchcock movie. All his films utterly grip from the first minute, I'm not sure what it is. The Hermann scores? The interesting, detailed dialogue? The consistently striking cinematography? I think it's a mixture of all of that stuff. The mark of a true auteur is that we can always tell when we're watching a certain directors' film. And now I think I've discovered what separates Hitchcock from Wilder, Hawks and the like.
His dialogue isn't fast.
It's as simple as that, really. While the others pack their films with very quick, witty dialogue, Hitchcock takes his time, he goes through the details with…
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