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…
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…
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…
He just has one of those faces
The first half is too enamoured in realism over building the story, but once it hits its stride it's a fun ride.
He just has one of those faces
Alfred Hitchcock adopted a tone of stark realism to tell the true story of a family man (Henry Fonda) falsely incarcerated because he resembled a serial bank robber. The film spares the audience no upsetting details--in Fonda's humiliating imprisonment, the accusations of his former colleagues and, ultimately, his wife's (Vera Miles) going mad from the stress of their plight. THE WRONG MAN denies the audience much of Hitchcock's familiar playfulness (Even grace notes like Hitch's "spot the director" cameo are omitted) in order to address his ongoing themes of guilt and marital discord with blunt seriousness. Needless to say, it was one of the director's least popular American releases; but for the young film critics at Cahiers du cinema who…
Not anybody's best work. And poor Vera Miles gets a crap part. It's the most disappointed I've ever been in a Hitchcock film.
Decided to up it to 3 stars on objective criteria, but subjectively I'd give it 2.5 at best.
I am not a Hitchcock apologist. I tend to resist his manipulations and don't respond in the way that he wants me to. The Wrong Man is simply another contrived Hitchcock movie; while it's based on a true story (actually very accurately so), there are too many moments where suspense is generated simply from artificial means that fall apart once put under any kind of scrutiny. Hitchcock's technical proficiency is once again on display, but it's hollow this time again. Common sense dictates what direction the film is going down and it deviates little from a predestined course. Vera Miles plays crazy for the second half but everything ends up resolving itself in a tidy bow in an abrupt ending.…
The plot is a lighter version of Kafka, and just ok. But Hitchcock's framing and camera work is what really makes this worth watching. Fonda (age 53) plays a 38 year old man.
Hitchcock have never failed to amaze me, not yet at least. He introduced this movie himself with a feeling of pride, and he has every right to it. it's film-noir but it has a compassionate side that makes you feel a lot for the wrongfully accused Manny and his family, because it's based on very real events. Only thing that bothered me is the unnecessary focus on Manny's wife.
Could be retitled Bitches Be Hysterical, or, Bad Police Work.
Henry Fonda is excellent and Hitchcock does what he does best.
In early June, 2013, my best friend killed herself.
She took a cab to the middle of nowhere and vanished,…