THE WRONG MAN covers a subject matter that Alfred Hitchcock frequently used in a large percentage of his output:an innocent man trying to clear his name over a crime he did not commit.But the details are wholly different from the suave,witty byplay with Cary Grant in TO CATCH A THIEF and NORTH BY NORTHWEST,in rich technicolor, glamorous sets and locations,for example.On this occasion,Hitchcock places his story in Wintry New York,filmed in stark monochrome,with a low-key,almost documentary-style feel to the proceedings,which prevent any elaborate Hitchcockian set-pieces.The main protagonist,Manny (Henry Fonda),a perfectly ordinary,decent and straightforward working man (a musician at a swanky nightclub) is accused of a series of hold-ups,and is seemingly powerless to fully prove his innocence of the crimes in a court of law.In the end,the real villain is eventually captured,but not after his wife Rose (Vera Miles) cracks under the strain and suffers a mental breakdown.
THE WRONG MAN is certainly not one of Hitchcock's more typical works,despite the familiar plot line;the pace is deliberately slow and stately,it's hero is of the most modest (if not dull) of proportions,and there are no opportunities for any humorous relief.On the other hand,this does not entirely work against the film.The details of Manny's ordeal after his wrongful arrest and period in the police station are very convincing and even a little harrowing,and Fonda and Miles are impressive as the man and wife haplessly caught in the terrible events that have taken over their lives.Ms Miles herself,an underrated actress, is particularly persuasive as Rose,her gradual mental deterioration very effectively and believably performed,with some very touching and moving dramatic moments.She certainly deserved an Oscar nomination at least for her excellent portrayal of this role,in possibly the best performance of her film career.
In the midst of such classics as VERTIGO,NORTH BY NORTHWEST and PSYCHO,THE WRONG MAN has been somewhat unfairly overlooked in this creatively fertile period for Alfred Hitchcock.And while it is true that it lacks the humour,memorable individual sequences and imagery that the above films have in abundance,this is still a diverting and worthwhile attempt by Hitch to approach one of his most favourite subject matters from a more modest,but unusual standpoint.And he still manages to produce some striking moments of cinematic invention,most notably when Fonda's face is gradually superimposed on that of the real hold-up man,just before he commits the crime that will give his game away and clear Manny.The film's only real negative point is the casting of distinguished British actor Anthony Quayle as Fonda's lawyer;Quayle is by no means an embarrassment in the role,but his struggle with an American accent is obvious and one wonders why Hitchcock didn't cast any available US actor in the part.
That quibble aside,THE WRONG MAN is still a very well-crafted effort by one of the cinema's masters,and although not one of his very best (it is certainly among his saddest and gloomiest),it is definitely worth further appraisal after being somewhat ignored and undervalued for many years.
RATING:7 out of 10.
THE WRONG MAN is certainly not one of Hitchcock's more typical works,despite the familiar plot line;the pace is deliberately slow and stately,it's hero is of the most modest (if not dull) of proportions,and there are no opportunities for any humorous relief.On the other hand,this does not entirely work against the film.The details of Manny's ordeal after his wrongful arrest and period in the police station are very convincing and even a little harrowing,and Fonda and Miles are impressive as the man and wife haplessly caught in the terrible events that have taken over their lives.Ms Miles herself,an underrated actress, is particularly persuasive as Rose,her gradual mental deterioration very effectively and believably performed,with some very touching and moving dramatic moments.She certainly deserved an Oscar nomination at least for her excellent portrayal of this role,in possibly the best performance of her film career.
In the midst of such classics as VERTIGO,NORTH BY NORTHWEST and PSYCHO,THE WRONG MAN has been somewhat unfairly overlooked in this creatively fertile period for Alfred Hitchcock.And while it is true that it lacks the humour,memorable individual sequences and imagery that the above films have in abundance,this is still a diverting and worthwhile attempt by Hitch to approach one of his most favourite subject matters from a more modest,but unusual standpoint.And he still manages to produce some striking moments of cinematic invention,most notably when Fonda's face is gradually superimposed on that of the real hold-up man,just before he commits the crime that will give his game away and clear Manny.The film's only real negative point is the casting of distinguished British actor Anthony Quayle as Fonda's lawyer;Quayle is by no means an embarrassment in the role,but his struggle with an American accent is obvious and one wonders why Hitchcock didn't cast any available US actor in the part.
That quibble aside,THE WRONG MAN is still a very well-crafted effort by one of the cinema's masters,and although not one of his very best (it is certainly among his saddest and gloomiest),it is definitely worth further appraisal after being somewhat ignored and undervalued for many years.
RATING:7 out of 10.