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
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…
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…
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.
Hitchcock aqui entende que o mais assustador não é um sociopata a solta ou um crime de efeitos psicológicos, mas sim a própria estrutura da sociedade, com seus papéis e funções que se misturam e se confundem o tempo todo. Ninguém está errado e ninguém está certo: cada um apenas busca o melhor para si, tendo efeitos devastadores para um par de indivíduos - totalmente não intencional. Um Hitchcock inspiradíssimo e o Henry Fonda é uma dádiva.
Trilling and heartbreaking whit an ever growing anger.
The saddest thing to watch was the accusators and the detectives not even apologizing to Manny after the case...
This film is clearly Hitchcock projecting his real-life fear of the police onto the screen. This does mean you get some unnecessarily long sequences of legal procedure, as well as a hammered-in central point. But, mostly, Hitchcock utilizes the real-life story to create a rare suspense film of shocking, utter believability. Overall, its heavy-handedness is overshadowed by its realism and modern relevance.
1.5 out of 5. Hitchcock's gamble with The Wrong Man -- to tell a familiar Hitchcockian story (the innocent man who must clear his name) with a fact-based, nearly real-time procedural accuracy -- turns out to be a severe dramatic misstep. Henry Fonda plays Manny, a scrapping-to-get-by family man and club musician who is falsely accused of robbing a series of store fronts. There's no mystery here -- we know Manny is innocent -- and so we are meant to acutely feel the closing noose around his neck, the dawning realization that Manny may lose everything while the real robber remains free. But none of that tension exists in the film, and part of the reason is that Henry Fonda…
Hitchcock's most serious picture is also among his greatest.
Melancholic experimentation from Hitchcock makes for an effective piece of film noir.
Hitchcock made the Wrong Man in 1956, with all the understanding of female psychology of the time. The Wrong Man follows the main character as life and circumstances hit him from all sides, and his wife goes insane because of what's happening to him.
This might be based on a true story but surely there was another tale somewhere to tell that had more going for it. The Wrong Man feels very pedestrian and has a sense of 'is that it' when it's over and isn't overly interesting enough to sustain the running time. Of course with Hitchcock directing there is a style that keeps it watchable and Fonda is as dependable as ever.
Such an odd Hitchcock movie, but a terrific Noir.