Anthony Quayle, Charles Cooper, Harold J. Stone

Based on the true story of a musician wrongly accused of robbing an insurance company and the grave effect his predicament has on his family.

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72% liked it

6,323 ratings

Critics

88% liked it

17 critics

Unrated, 1 hr. 45 min.

Directed by: Alfred Hitchcock

Release Date: January 1, 1957

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DVD Release Date: September 7, 2004

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Flixster Reviews (270)


  • February 17, 2009
    one of hitchcocks more average films. it certainly wasnt bad, vera miles was beautiful in the film and fonda turned in a typically serviceable performance, but the story was slow and unengaging. this film would have been a full star better with better pacing and about 20 minute...( read more)s knocked off. hitchcocks stab at the telling of a true story.
  • January 2, 2009
    atmospheric hitchcock. it's different from his usual style but it's rather good!!! not much of a script but mostly done with camera shots and facial expressions to tell the true story. i thought anthony quayle, henry fonda and vera miles all did very well. haunting piece of cinema!
  • December 14, 2008
    After sitting through The Wrong Man, it puzzles me greatly why this film isn't seen by more, or rated as highly as some of Alfred Hitchcock's masterpieces. True, he does seem to be subverting his style slightly for the story, which is at the core a tragedy of a man falsely accuse...( read more)d (and maybe not with the same tension we'd expect like in Strangers on a Train or Psycho). But to me it shows him really with an experimental edge that just seemed to really strike me. This is Hitchcock going for something Kafkaesque ala the Trial, and on that level the film is downright scary at times. Though Henry Fonda's Manny Balestero is told of his charge after being arrested, the whole 'procedural' nature of the film's story, of how the system can be the damnedest thing, makes it downright gripping. Like with the Master's other films, one can see the suspense at times almost sweating through the frame, and the kind of Cold-War era paranoia that works magnificently (like when Manny is at the insurance office, where the plot thickens), along with the sort of Joseph K. quality to the lead of being presumed guilty more than being presumed innocent.

    But there is also something very powerful, and challenging, about the casting of the lead. In a sense Hitchcock was one step ahead of Sergio Leone, who would do something similar with Once Upon a Time in the West (though Leone was going for a lot more twisting the genre screws). It's a filmmaker saying, 'look, I'm giving you Henry Fonda, maybe the most, if not one of the most, good-hearted movie stars from the 40's- Grapes of Wrath, My Darling Clementine, The Lady Eve, etc- but I'm putting him in a situation where he's in this strange scenario of not playing himself, or rather being in a society that is brutal and unflinching'. Fonda was the perfect choice considering the material, and while it is based on a true story and Fonda is terrific at his role, that Hitchcock leaves out certain details of his innocence adds a certain level to the subject matter. Maybe he is guilty and we just are too gullible to think it? How long can all this doomed atmosphere continue? On an existential level almost Hitchcock delivers a kind of very recognizable world with the terror on a different but just as engaging level as his 'popular' films.

    If Fonda is our fatefully unlucky protagonist, Vera Miles is equally compelling as his wife, who can't seem to take what has been going on with her husband. If there is some sense of pitch black satire amid the "true-story" drama of the story, she is the representation of paranoia affecting a seemingly good person. Why this happens exactly to Rose Ballestero, her descent into a kind of closed-off madness, isn't made entirely clear (again, Kafka), and the conclusion to the film brings something that I was hoping would happen, and did, and makes for something far more challenging than if a standard Hollywood director would've tackled the material. Using real locations in NYC, the great many character actors that make up the police and everyday people (there is some very good casting in the insurance office scene), and a musical score that is decidedly vintage Herrmann, Hitchcock uses this sort of documentary realism to heighten his own subjective approach (all the images of prison bars, the film-noir type lighting and staging, the use of space in the rooms). It all works to help the story, which goes against the grain of the 50's era thriller, and it works extremely well.

    In fact, for my money, I would rank this among my top five or so favourites in Hitchcock's whole oeuvre. It's a bold statement to be sure, but for the particular cinema fan, this brings on entertainment on a truly dramatic scale and, until a certain point I won't mention, is unrelenting.
  • August 12, 2008
    The appeal of this one of course is that is based on a true story. Wrongly accused stories always play on the fears of the viewer in a 'what if?' kind of way, but when it's backed up by a true story, then thoughts and fears are realised and make great, yet uncomfortable watching...( read more).

    Not quite one of the best in my Hitchcock marathon, but certainly very watchable.
  • November 18, 2007
    Perhaps Hitchcock's more serious, realistic and touching drama about mistaken identity. Robert Burkes' noirish documentary-like photography it's one of the highlights, as well as Henry Fonda and Vera Miles in natural and believable roles of common people living in an anguishing k...( read more)afkian nightmare.
  • November 13, 2009
    The Wrong Man immediately proves two strong arguments. The first one is that Hitchcock is the ultimate and definitive master of suspense. The second one is that he is capable of adapting a true story into a top-notch thriller without being insulting, despite the cheesy introducti...( read more)on he gave during the opening minutes. Henry Fonda was absolutely outstanding for such a role, and the calibre of this film will be long kept alive.

    80/100
  • September 23, 2009
    good & real Hitchcock suspense about mistaken identity... Henry Fonda was fantastic...
  • August 27, 2009
    ...( read more)http://www.flixster.com">Flixster - Share Movies
  • August 19, 2009
    Hitchcock's stark, humorless presentation of disturbing true events ranks among his most polished movies, but its execution is so subdued that a lot of people are inclined to overlook its mastery. Played out in a grim, documentary-esque fashion and acted with assurance by the ent...( read more)ire cast, I think this is one of the most impressive films Hitchcock ever made. By refraining from excessive use of technical experimentation, the movie imbeds the audience in the hopeless scenario of its protagonist.
  • August 4, 2009
    "An innocent man has nothing to fear, remember that."


    This is a different kind of Hitchcock film, although it does follow a common Hitchcock theme: a man wrongly accused for a crime he didn't commit. Based on a true story, it's shot in black and white in a realistic, semi-do...( read more)cumentary fashion. Even the ending felt more realistic than most classic Hollywood movies I've seen.

    Henry Fonda is perfectly cast and gives a great performance, often times not speaking much but saying everything with his facial expressions and eyes. During his arrest for a robbery he didn't commit, we feel his disbelief, confusion, anger, shame, and ultimately despair.
    All in all, it's a very good film noir. Recommended.


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The Wrong Man Trivia


  • "No, I don't think I will kiss you, although you need kissing, badly. That's what's wrong with you! You should be kissed and often, and by someone who knows how." In which film does the heroine receive this advice from the leading man?   Answer »
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