The coldest of all the Hitchcock movies.

A wonderfully understated Hitchcock. No need for melodrama here, the commonplace is dark enough. Even the resolution is half-hearted and bleak. The sound design is striking: subtle diegetic sounds at times, voices moving and filling out spaces with reverb. Hitchcock tried something different, and it works.

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The main problem with 'The Wrong Man' is that it's a real story, and that goes against Hitchcock's style completely; thus the result is a slow-paced, anticlimatic film that takes a turn for the worse in it's second half with an uninteresting subplot about the man's wife and an unsatisfaying ending. Still no one said it is bad. Henry Fonda is great, the first half at least is very intense and there is some fantastic photography. Some more neorrealism would have done this film good.

A bit of a slow starter, as we watch Fonda in his mundane daily routine. We take this freedom for granted, and then things begin to spiral beyond control. Experiencing the events from his perspective makes the frustration and tension nearly unbearable. While Hitchcock's films are often glamorous thrillers, this is a down and gritty indictment of societal paranoia and procedural error. The wife blaming herself adds an interesting layer. It seems to me a virtuoso work, and criminally overlooked.

Hitch can do no wrong. Vera Miles is great!

Pretty good. Henry Fonda's always engaging and he sits well in a film about injustice and the law. I'll agree with the consensus that the first half is better than the second, but it's still good even if it's not very thrilling.

One of the more interesting aspects of this film was Hitchcock's portrayal of women from the nervous, pathetic office workers who make the wrong identification to the wife who ends up having a breakdown because she can't cope.

"The Wrong Man" is an understated and relatively odd Hitchcock film that manages to remain interesting throughout despite the lack of directorial fireworks or dramatic tension. Especially in the first half, the Master demonstrates his shrewdness in creating suspense out of a seemingly tame situation and Fonda looks absolutely innocent, which makes him suitable for the part, I guess. When the film drifts more towards drama, it's less successful. Middle-of-the-road Hitchcock overall.

"Hitchcock's shadowy mise-en-scène is given a greater sense of veracity through his use of actual NYC locations." - Eric Henderson

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Henry Fonda is the perfect "wrong" man, he says a lot with his eye movements !

It's okay. There are about 25 minutes in here after Fonda gets picked up by the cops that are quite awesome, but the rest of the film is predictable and a little dull.

Unusually serious, offbeat Hitchcock which succeeds very well, even if I miss his usual playful touches. Film works best in the first half as kind, decent Fonda is caught in a baffling, Kafkaesque nightmare; less interesting is the underdeveloped subplot of wife Miles' mental deterioration, which feels awkward and tacked on. Herrmann's score is wonderfully foreboding (love the repetitive bass line) and Hitch again proves himself a master of the camera, with the usual wild POV shots.

The Wrong Man is a great example of Hitchcock's great talent. Apart from suspense he could produce a great, touching story about a man who was wrongly charged with a crime. Moreover the story that really happened and that fact makes you uncomfortable in any society. Even you know from the beginning that the guy is innocent the plot keeps you intense just till the very end.

A forgotten masterpiece. An incredible story, that happens to be true. Henry Fonda and Vera Miles are magnificent.

For the first half, it's one of the top-tier Hitchcocks. Intense and dark, European influence showing in the New Wavey-ness and a bit of neorealism as well. Henry Fonda is great. Towards the ending though, it becomes a bit unsatisfying.