The Wrong Man (1956)
Directed by Alfred Hitchcock

Crime / Drama / Thriller

Film Review

Abstract picture representing The Wrong Man (1956)
Whilst it may embrace many familiar Hitchcockian themes, such as mistaken identity, mental derangement and transference of guilt, The Wrong Man is markedly different from Alfred Hitchcock's other films, and could even be mistaken as the work of an altogether different director.   The surprising stylistic change of direction is heralded at the start of the film by the appearance of Hitchcock himself, not in his usual fleeting cameo but as a ghostly silhouette in film noir long shot, to tell us that what we are about to see is based entirely on a true story.

The factual content of the narrative is reflected in the strikingly realist approach which Hitchcock skilfully adopts for this film.  It is probable that the director had been strongly influenced by the emergence of neo-realism in European cinema at the time - exemplified by the work of the Italian cineaste Roberto Rossellini.   Hitchcock eschews the slick Hollywood style of his previous films in favour of an evocative mix of film noir and near-documentary, making this a chilling parable of how the State can thoughtlessly wreck the lives of its unsuspecting citizens.

Real locations and naturalistic performances are complemented by a very restrained cinematographic style and a meticulous attention to detail, which heighten the sense of realism, to the point of risking viewer antipathy.  The Wrong Man is much more a European film d'auteur than a typical Hollywood commercial film.  It may have fared very poorly at the box office when it was first released, but it is undoubtedly one of Hitchcock's most daring and inspired contributions to the art of cinema.

Much of the film's intense emotional realism comes from Henry Fonda's convincing portrayal of an innocent family man who is drawn into a Kafkaesque nightmare from which there is, apparently, no escape.  Fonda's innate talent for playing the ordinary man is put to good use and he really does get across the immense trauma and pathos of a man who is on the brink of losing everything.

The subjective camera work (consisting of some very effective point-of-view shots) and Bernard Herrmann's appropriately subdued score complement Fonda's performance superbly, helping the viewer to identify with Manny's growing anxiety and shame as the net closes in around him.  An equally impressive performance from Vera Miles heightens the film's tragic dimension, helping to make this Hitchcock's bleakest and most poignant film.
© James Travers 2008
The above content is owned by filmsdefrance.com and must not be copied.
Next Alfred Hitchcock film:
Vertigo (1958)

Film Synopsis

Working as a bass player in an exclusive New York nightclub, Manny Balestrero earns just enough to keep himself, his wife Rose and his two young sons.  Rose needs dental treatment, but the only way to raise the money is to borrow against her life insurance policy.  In the insurance company office, Manny is recognised by the counter staff as the man who recently pulled off two armed robberies.  They notify the police and Manny is arrested.  When her husband's alibis for the earlier robberies evaporate, Rose becomes consumed by guilt and suffers a mental collapse...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: Alfred Hitchcock
  • Script: Maxwell Anderson, Angus MacPhail
  • Cinematographer: Robert Burks
  • Music: Bernard Herrmann
  • Cast: Henry Fonda (Manny Balestrero), Vera Miles (Rose Balestrero), Anthony Quayle (Frank D. O'Connor), Harold J. Stone (Det. Lt. Bowers), Charles Cooper (Det. Matthews), John Heldabrand (Tomasini), Esther Minciotti (Mama Balestrero), Doreen Lang (Ann James), Laurinda Barrett (Constance Willis), Norma Connolly (Betty Todd), Nehemiah Persoff (Gene Conforti), Lola D'Annunzio (Olga Conforti), Kippy Campbell (Robert Balestrero), Robert Essen (Gregory Balestrero), Richard Robbins (Daniel - the Guilty Man), Dayton Lummis (Judge Groat), Peggy Webber (Miss Dennerly), Charles Aidman (Jail Medical Attendant), Sammy Armaro (Suspect), Michael Ann Barrett (Mrs. Daily)
  • Country: USA
  • Language: English / Italian / Spanish
  • Support: Black and White
  • Runtime: 105 min

The best French Films of the 1920s
sb-img-3
In the 1920s French cinema was at its most varied and stylish - witness the achievements of Abel Gance, Marcel L'Herbier, Jean Epstein and Jacques Feyder.
The very best period film dramas
sb-img-20
Is there any period of history that has not been vividly brought back to life by cinema? Historical movies offer the ultimate in escapism.
The best French war films ever made
sb-img-6
For a nation that was badly scarred by both World Wars, is it so surprising that some of the most profound and poignant war films were made in France?
The very best of the French New Wave
sb-img-14
A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.
The Carry On films, from the heyday of British film comedy
sb-img-17
Looking for a deeper insight into the most popular series of British film comedies? Visit our page and we'll give you one.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright