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 Alfred Hitchcock
Der falsche Mann, Falso culpable, Il Ladro, 오인, The wrong man
Crime | Drama | Mystery
Prologue Narrator: This is Alfred Hitchcock speaking. In the past, I have given you many kinds of suspense pictures. But this time, I would like you to see a different one. The difference lies in the fact that this is a true story, every word of it. And yet it contains elements that are stranger than all the fiction that has gone into many of the thrillers that I've made before.
THE WRONG MAN is a great film by Alfred Hitchcock based on a true story. Henry Fonda and Vera Miles give incredible performances, great visuals, well writen, and i enjoyed watching this film because of the drama.
• Story: 8/10
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…
Henry Fonda somehow perfectly embodied innocence and goodwill in many of his roles. There's no way to be not believe his character here is anything but an unfortunate man. The Wrong Man is slightly unusual for Hitchcock due to its strong realism, but the emphasis on procedure makes everything seem more hopeless. Some stylistic choices are pretty bold and Hitchcock's camera is unbounded by cliché. The final third is sloppy, with a convenient ending and a mental health subplot that arrives out of nowhere, but everything else ensures The Wrong Man is a distinctive and effective Hitchcock film.
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…
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…
i would prefer if that last card didn't show up at the end (same case with the farewell) but still a good film
first hitchcock film that i watch. all i can say is that it sucessfully made me feel bad for the wrong man and his family.
A series of misfortunes and hard luck. The feeling of being hopeless can shatter the core of happiness. That's quiet a message to see in this one. Vera Miles saves the day for Hitchcock as he takes us smoothly along the course of the events, but lacks at showing the toughness and struggle of a middle class family maker throughout and makes him look very light on the surface. That costed 1 point on the rating.
Although it is less theatrical, for want of a better term, than a lot of Hitchcock films, it is nevertheless every bit as chilling a story as the director ever put to screen. Also, with this being Hitchcock, the manner in which the film is shot is tightly controlled, and often spectacular, even if the camera virtuosity is seemingly drawn back, somewhat, to allow the fact-based narrative to take precedence. (Even so, two moments of Manny (Henry Fonda) imprisoned stand out; once with a weaving, dizzying close-up that foreshadows his vertigous POV shots from "Vertigo" and - of course - in what is arguably the signature shot from the film, a single image that takes us from the tight confines…
well that was just upsetting
teniendo en cuenta que esta película forma parte de la mejor época de la producción de hitchcock (anterior a vertigo y posterior a rear window, por nombrar algunas), se siente más como una decepción que como un acierto por parte del director. si bien la película comienza planteando un misterio, conforme avanza la trama el interés se va perdiendo porque, por ejemplo, henry fonda parece tener la cabeza en cualquier cosa menos en su papel (aunque por otra parte, al año siguiente participaría de la excelente 12 angry men), hay escenas que resultan superfluas, como todo el arco narrativo de la depresión de rose, que no aporta nada al enigma que se plantea al principio, y también, porque el final resuelve la historia de una forma que da la sensación de quedarse con un «¿esto es todo?».
In his previous films that deal with a protagonist wrongly accused of a crime, such as The 39 Steps, Young and Innocent, Saboteur, and Spellbound, Alfred Hitchcock offers little to no thematic discussion and instead opts to simply tell a “country-trotting man on the run” story where the protagonist narrowly evades law enforcement, while simultaneously trying to solve a crime to prove their innocence. As such, critics have labeled this type of yarn storytelling, and more importantly Hitchcock himself, as substance-less, but technically well-made entertainment. Almost as a rebuttal to critics, Alfred Hitchcock uses a documentary-like approach over the globe-trotting yarn style of his previous films to tell a story about a man wrongly accused of a crime in order…
Serious, sober Hitch. While based on a true story, the high-stakes anxiety is unrelenting, even past what would be the resolution in a typical Hitch thriller. Oh the pathos!
Also, random Colonel Klink!
THE WRONG MAN (PG)
D: Alfred Hitchcock
Warner Bros (Alfred Hitchcock)
W: Maxwell Anderson & Angus MacPhail
DP: Robert Burks
Ed: George Tomasini
Mus: Bernard Herrmann
Henry Fonda (Christopher Emmanuel Balestrero), Vera Miles (Rose Balestrero), Anthony Quayle (Frank O'Connor), Harold J. Stone (Lt. Bowers), Esther Minciotti (Mrs. Balestrero)
The Wrong Man is one of Alfred Hitchcock's lesser known films, but is equally as good as many of his most well known movies.
Henry Fonda gives an astounding performance as Christopher Emmanuel Balestrero, a jazz musician and family man who is arrested for a crime that he didn't commit and may face a lengthy prison sentence when all the evidence appears to conspire against him, leaving his attorney with an impossible job and driving his wife to the brink of insanity.
The story is based on a real life event, tweaked slightly for dramatic effect.
Fans of Hitchcock won't be disappointed with this one.
Oscar Lau 999 films
The 15th and the latest edition of TSPDT's 1,000 Greatest Films - ranked 1001-2000th www.theyshootpictures.com/gf1000_films1001-2000.htm
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