Somewhere...somewhere there must be the right man!
True story of an innocent man mistaken for a criminal.
True story of an innocent man mistaken for a criminal.
Henry Fonda Vera Miles Anthony Quayle Harold J. Stone Charles Cooper John Heldabrand Esther Minciotti Doreen Lang Laurinda Barrett Norma Connolly Nehemiah Persoff Lola D'Annunzio Kippy Campbell Robert Essen Richard Robbins Dayton Lummis Peggy Webber Bonnie Franklin Werner Klemperer Harry Dean Stanton Tuesday Weld Patricia Morrow
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…
#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…
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…
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…
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.
Telling the true story of a man falsely accused of robbery, The Wrong Man is the first fact-based story directed by Alfred Hitchcock. Yet, as he promises in the prologue, the film is just as suspenseful as his usual fare, equally unpredictable, and even harder to believe. In the film, reality proves that it can sometimes be even stranger than fiction as the tale of Manny Balestrero (Henry Fonda) spirals out of control upon his accusation. From at-home issues, legal issues via the trial, and the confusion of it all, Manny's life is forever altered as a result of this case of mistaken identity.
A suspenseful and mysterious film, the film is not very Hitchcockian. It shows…
First half = one of the best Hitchcock films
Second half = s'okay
Could have been interesting had they followed up the detailed process of going to jail by mirroring it with a more detailed look at her institutionalization.
Ein Paradebeispiel für Hitchcocks Faible für wahre Kriminalfälle ist dieser Film über eine Verwechslung, die einen unschuldigen Mann in kafkaeske (Der Prozess war sicherlich prägend) Situationen bringt. Interessant ist zudem der zunehmende Fokus auf die Ehefrau, die von Stress und Schuldgefühlen geplagt, langsam verrückt wird. Schauspielerisch auf hohem Niveau ist es vor allem auch die Klasse Hitchcocks als Regisseur, die überzeugt, auch kameratechnisch sind viele tolle Szenen gelungen. Wenn auch mit einigen Längen im mittleren Teil ein stark inszenierter Kriminalfilm mit psycho-analytischem Unterbau und handwerklicher Perfektion.
Aside from about forty minutes of story about mistaken identity and arrest --- based upon a real incident --- that truly makes the skin crawl, this is a mild drama that has so very little to do with Hitchcock (as we know him today) and ever so much to do with the trend for grim, bleak realism that was rampant in Hollywood at the time.
Widescreen black and white... feeble whimper at the injustice of systems of justice... Henry Fonda as a forlorn martyr... location shooting in New York City... nothing not done better in Blackboard Jungle, Pickup on South Street, Man with a Golden Arm, On the Waterfront, Sweet Smell of Success, Shadows, Little Fugitive, etc.
As with I…
henry fonda just Really looks like the kinda dude thatd fuck up your shop, huh
Damn hitchcock gimmie some of that drama.
At first, I wanted to watch and write about Rocco e i suoi fratelli, but I won't have time for it these days: I have to make preparations for my trip to Stockholm and Uppsala, and a friend will take me to Tulip fever tomorrow. In addition: what's wrong starting with a black and white Hitchcock film? Nothing, I guess.
'An innocent man has nothing to fear, remember that.'
Henry Fonda is Christopher Emmanuel "Manny" Balestrero, a jazz musician whose life is turned upside down when he is accused of armed robbery and assault. His wife (Vera Miles) and his family do anything to support him and bail him out, but prison was such a painful and exhausting memory that…
Excellent film. Honda Fonda's and Vera Miles's performances were surburb.
Talk about a missed opportunity. This film is a borderline masterpiece for the first hour. It feels more akin to A Man Escaped or The 400 Blows than a major Hollywood feature. The process of wrongly pinning the crime on Henry Fonda and how it plays out is agonizing and filled me with such an extreme amount of anxiety. The score by Bernard Herrmann is pitch perfect. The cinematography is perfect. Then something happens about an hour in. The story becomes a mix of a very bizarre and ill fitting mental illness story, and a boring court procedural. All of this comes out of nowhere and blows whatever atmosphere had come before it. Rarely have I ever seen such a frustrating and bi-polar film.
Clearly one of Hitchcock's best films, masterful use of his techniques to tell a true and persistently relevant story about one of the true horrors of our world, the criminal justice system. Henry Fonda and Vera Miles are great, but Hitchcock is the best actor here, using camera, lights, editing, sound and music to convey powerful emotional and psychological experience. And no one has to die! A hint at what the cinema might have seen if Hitchcock hadn't been so caught up in the entertainment business and his personal obsessions with icy blondes and murder