All the films from all the editions, including those subsequently removed, presently totalling 1177. 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…
You know those great movie scenes where you get to watch a character do something they're really exceptional at? Like rob a bank or hit a home run or survive on Mars? Hitchcock movies are like those scenes from start to finish. The pleasure of execution done effortlessly, expertly.
For the record, Vera freaking Miles is in The Man Who Shot Liberty Valance, The Searchers, and Psycho. And this might be her best performance.
The Wrong Man is the story of an innocent man accused of a crime, who never gives one any reason to think he's guilty, but who is also very likely to be found guilty at trial, It's not really shot with any of the wit or style you'd expect in a Hitchcock film -- I'm guessing he toned those elements down because this is a based-on-a-true-story film -- but even if it's missing those, it's nonetheless terrifying to see how events could conspire to run an innocent man into prison.
Henry Fonda and Vera Miles are solid as the innocent man and his wife, though her fall into depression as a result of the stress and her own guilt definitely…
Very enjoyable thriller film based on a true story. This marks my 9th Hitchcock film and obviously this pales in comparison when put to his others but this film doesn't try and be more than it is. It attempts to be an enjoyable, rewatchable and fun crime film which seems to be a blockbuster film which managed to age very well. Maybe I'm just biased as I am a major Hitchcock lover/fan/praiser but I really loved this film. It's not amazing but very very fun.
A rare case where the Hitchcock name doesn't transcend the Noir tendencies. A dark, dark film. The chaos that runs through the world permitting evil to occur at any moment causes Vera Miles' character to suffer a breakdown. Never has a breakdown been so understandable.
A surprisingly sad, subdued movie. Doesn't strike me as a thriller, or even a mystery; really, it seems almost neorealist. Godard said "What Will Be Has Been" in The Wrong Man, describing the lack of suspense in anything besides the main character's powerlessness and the arbitrary horror of his situation. That in particular recalled for me the scene in which Rose is diagnosed by the psychologist; his description of her condition seemed to match the presentation of the scene immediately preceding. Manny faces no obstacle other than misfortune, his own financial situation, and the insurmountable supremacy of the processes involved with his prosecution.
There's a nominal happy ending, but one has to wonder why it's conveyed in text rather than…
Unlike much of Hitchcock's oeuvre, this isn't quite a thriller. It's more of a creeping descent into what seems to be Alfred's personal hell; unjust persecution by the police, followed by imprisonment. One of his darkest films, lacking even his trademark black humor as levity. Henry Fonda is the perfect choice to play this ghost who walks the earth, but you end up with the feeling that Vera Miles really stole the film.
An innocent man wrongly accused of a crime was a theme frequently used by Alfred Hitchcock and is the central theme of "The Wrong Man". Here he presents a grim and cynical story made even more so by eschewing his normal cinematic stylistic flourishes and instead developing a black and white documentary style. Set in New York where the upright Christian family man Christopher Emanuel "Manny" Balestrero (Henry Fonda) works as an honest jobbing musician. When his wife Rose (Vera Miles) develops a dental condition requiring expensive treatment, Manny decides to go to his insurance company to apply for a loan to cover Rose's treatment. While there he is identified by the clerk as the robber who raided the firm…
This moving true story is surely the saddest that Hitchcock ever made.
Everybody else has got one so why not..
So many of these are absolutely brilliant that ranking is quite difficult…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…