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The Wrong Man

The Wrong Man

1956
Drama, Crime
1h 45m
Your probable score
Avg Percentile 61.84% from 1057 total ratings

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(1057)
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Rated 08 Aug 2007
3
38th
The first half is great, suspenseful, mysterious, dark, well-directed. The second half becomes...odd. The whole wife subplot was a bit unsatisfying and incongruous - it feels as if the first half of one film and the second of another were slapped together, in a way. It picks up a little towards the immediate end, though. Fonda is great, as always, and this has some of Hitchcock's best photography, a great noirish chiaroscuro giving the film a very menacing feel.
Rated 17 Aug 2011
75
57th
Henry Fonda is the perfect "wrong" man, he says a lot with his eye movements !
Rated 28 Jun 2022
87
77th
This is a perfect marriage of movie star & director. Henry Fonda loved showcasing ordinary men confronting unjust systems. And Alfred Hitchcock excelled with tense thrillers detailing inept authority terrorizing heroes. The result is a great social thriller. The wife storyline starts well, but loses some steam at the end. And at times I don't think the editing helps the amazing jazz score. Still, it holds up as a cautionary tale on the hell that Karens can bring. Recommended.
Rated 03 Aug 2009
83
79th
Although different for Hitchcock, this just goes to show he can do something else besides suspense. The first half of the Wrong Man is easily the best part. It's not really a mystery, because you know he is innocent, but it is so interesting, especially considering this is all true, that something like this can happen to someone. Fonda's innocence is such a good contrast to the dark, and moody atmosphere of the film. Great Hitchcock.
Rated 29 Apr 2009
8
85th
Hitchcock's used the storyline concept of the wrong man in many of his films; here is the one where he treats it with a grim, straight-forward seriousness rarely seen elsewhere. It feels almost Brechtian. As such the film is a bit dry, and when it becomes psychological in the end it becomes a bit silly. But on some level Hitchcock is working with material he considers terrifying, and presents it as such.
Rated 14 Aug 2007
85
84th
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.
Rated 15 Jan 2023
80
75th
I love that policing used to just be "walk in that store and see if the people that were robbed recognize you". I'd say this is one of the great unheralded Hitchcock films, but also, that list is actually growing quite long the more I watch of his filmography.
Rated 28 Jan 2019
60
28th
Fan of Hitchcock and a fan of Fonda, but for me, this might be the most overrated film in Hitchcock's oeuvre. I felt no investment in any of the characters, including Fonda's, who spent the entirety of the film with a look of incredulity on his face and no tangible character arc. Cinematography was substandard for a Hitchcock film of this era. Pacing was dreadful. Perhaps worst of all, it strains the limits of willing suspension of disbelief despite being based on a 'true' story.
Rated 08 Aug 2017
89
90th
Just out of the upper echelon of Hitchcock but I like what this film is saying. Kind of a nuanced look at class relations it felt to me?? Bleak ending but that fits the narrative very well.
Rated 21 Mar 2008
67
38th
Good by any other director, average for Hitchcock. Still engaging.
Rated 08 Nov 2008
70
41st
Fonda very good. But I think the film relies too much on a straight documentary style to really be effective. It only approaches the sort of resonance we've come to expect from Hitchcock when Vera Miles begins to tweak out. Then of course there was the tacked-on (and scarcely credible) Hollywood ending/title card (by the way, am I the only one who found it strange that Hitch came on assuring us it was a true story, only to read a few minutes later in the titles: "Story by Maxwell Anderson"?).
Rated 03 Oct 2013
84
86th
The first act and a half is Hitchcock at his tensest. The quiet, understated atmosphere combined with the dread of the inevitable. It slows down halfway through but ends strong. Fonda and Miles are astounding and it might be one of Hitchcock's most under-appreciated films.
Rated 13 Aug 2019
94
74th
Good thriller and Fonda is believable in the role.
Rated 03 Aug 2009
5
80th
Takes a few too many leaps of faith not worth believing in, but a stark realization of Hitchcock paranoia at its best.
Rated 29 Dec 2012
75
62nd
It's hard to believe that this is based on a real story, but overall this is a nicely acted film from Hitchcock. Fonda isn't at his best, but he is good, but Vera Miles gave a really good performance IMO. The bleak ending was kind of cool. Not in my Hitchcock top 5, but not that far out either.
Rated 12 Nov 2008
58
48th
It is unfortunate that a true story of such great potential fell into the hands of Hitchcock and a pair of industry standard Hollywood writers, for despite his ability to grab and compel, Hitchcock wasn't always able to convince. Which is just what was needed here. Unlike that of, say, North by Northwest, The Wrong Man's plot suffers immensely from the glaringly unrealistic text and delivery. Even the expert method actor Fonda is stiff, unresponsive and speaks implausible lines of dialogue.
Rated 07 Aug 2009
88
70th
Another powerful dark and thrilling crime flick by Hitchcock.Vera Miles is my favorite character in that movie. her brainstorm in the second half of the Movie gives " the wrong man" more substance. Highly Recommendable to all Hitchcock Fans.
Rated 09 May 2007
75
81st
Henry Fonda does a great job in this rather bizarre Hitchcock film which is actually based upon a true story. The unusual introduction seems to set the tone of the film but it does seem to have a tendancy to trail off just a little bit towards the ending. Gripping, but not quite as good as some of his other films.
Rated 25 Jul 2008
41
24th
I'm conflicted on this movie. You have great dark cinematography (it reminded me of Taxi Driver quite a bit), Henry Fonda, who is excellent, and Alfred Hitchcock, who needs no introduction. In the first half of the movie it all comes together well (I did notice that Hitch did more location shooting on this than he usually does), but falls apart in the second half with the wife subplot which felt tacked on (I know it's a true story, but still). This is really just average for Hitchcock.
Rated 12 Jul 2010
5
18th
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.
Rated 20 Mar 2010
77
79th
Hitch can do no wrong. Vera Miles is great!
Rated 22 Jul 2013
85
90th
The scenes from when the police turn up at Fonda's door to the moment he gets bail are really excellent. Fonda barely says a word as he gets processed - factory assembly-line style - through the criminal justice system. It's stark, intense and you feel like it's entirely plausible, which is what makes it so uncomfortable. The stuff in the second half with Vera Miles is a little melodramatic, but sets the scene for a killer ending (as long as you stop the film with 10 seconds to go).
Rated 31 May 2016
81
60th
Hitchcock creates paranoia in this slow burner of a film maybe better than he has ever before this point. Some of the camera techniques he uses to create in this film were nothing short of brilliant - take the scene when Henry Fonda is in the jail cell and Hitchcock starts spinning the camera faster and faster. However, those techniques were not enough to save the problems of slow pacing in this film.
Rated 13 May 2019
65
62nd
I shouldn't like this movie, is slow paced and anticlimactic, but is made masterfully with incredible acting and details that made me go deep into this world. The kafkanian nature made it different and a very good psychological thriller. A very underrated movie that will stick in my memory.
Rated 08 Jun 2022
70
54th
Unlike what the title might suggest, this is not another of Hitch's classic "man-on-the-run" type deals and it's certainly not a thriller. This is more along the lines of a "true crime" drama, or maybe "true innocence" would be a more appropriate label? Hitch shot for something different here and the result isn't bad; it's just more interesting than engrossing. I appreciate what he was going for and I think it's worth a look for any fan of his work.
Rated 18 May 2022
70
82nd
Very good.
Rated 26 Aug 2013
80
71st
öncelikle Hitchcock filmi gercekten sahane cekmis. son 10 dakikasina kadar benim icin tereddutsuz 9'luk bir filmdi. ama o son 10 dakikada -spoiler- resmen imanla, duayla olayi cozume kavusturmasi (gercek bir hikayeye dayandigindan dolayi aslina uygun olarak yansitilmaya calisildigini, yani olaylarin kahramaninin hikayeyi bu sekilde aktardigini dusunmek istesem bile) puanimi 8'e dusurdu. ne yazik. ^^
Rated 10 Aug 2011
65
58th
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.
Rated 30 Jul 2015
72
64th
Those moronic cunts. Didn't even look like him.
Rated 11 Dec 2008
75
83rd
aaa
Rated 07 Nov 2010
86
75th
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.
Rated 28 Feb 2016
13
69th
Star Rating: ★★★1/2
Rated 14 Aug 2007
75
59th
The bleakest Hitch ever!
Rated 07 Nov 2012
82
40th
82.000
Rated 23 Sep 2012
7
68th
Not a must see by any stretch but still another solid movie into Hitchcock's impressive collection. Didn't care for the entire subplot with the wife and you are never really engaged because the ending is so incredibly obvious. That said, the cinematography and directing were great
Rated 15 Apr 2009
83
33rd
More like an episode of Alfred Hitchcock presents.......however there is an interesting performance by Vera Miles.
Rated 01 Dec 2016
46
21st
Much of Hitchcock I just find very alienating. And I'm not too fonda Fonda.
Rated 02 Jan 2015
40
19th
Tedious movie. No depth to any of the characters.
Rated 02 Dec 2011
57
14th
#864
Rated 19 Dec 2008
60
20th
791
Rated 19 Feb 2012
60
44th
Not among the best of the Master - just one of those lukewarm films of his that have strong thriller parts but sadly underwhelming dramatic scenes, the latter of which seem to prevail here, especially towards the end.
Rated 23 Nov 2012
80
74th
This is not a typical Hitchcock film. It is entirely based on a true story, so there is no opportunity for Hitchcock touches such as dramatic scenery or black humor. All there is, is bleak stark reality. An innocent man and his family suffer and suffer when he is wrongfully accused. The case illustrates why nowadays the justice system doesn't rely too much on the testimony of eyewitnesses. A chilling cautionary tale.
Rated 22 Oct 2011
40
97th
"Hitchcock's shadowy mise-en-scène is given a greater sense of veracity through his use of actual NYC locations." - Eric Henderson
Rated 02 Jan 2009
75
85th
It's more a documentary of a true story but a very good drama movie with H.Fonda, good acting of him. The story in the beginning was like the law of Murphy : when something goes wrong, everything goes wrong.
Rated 20 Sep 2009
83
39th
fazaye kafkaie in film beyne karaye hitchcock monhaserbefard nis vali nesbat be baghieh barjastetare. bazie Henry Fonda, makhsoosan ba oon type o cheshaye hamishe moztarebesh daghighan be darde hamin film mikhord. tahavole shakhsiate Vera Miles ham jaleb bood. chandta sequencesh makhsoosan charkheshe doorbin too zendoon va obooresh az daricheye cell khooban. vali az finale film khosham nayoomad. fekresho bokon: James Stewart, Cary Grant, Henry Fonda
Rated 27 Feb 2011
89
81st
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.
Rated 20 Jun 2011
85
73rd
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.
Rated 06 Apr 2014
31
14th
Is this about the exploitation of the working class?
Rated 04 Sep 2015
70
64th
A slow paced look at the 1950's american judicial system from the viewpoint of a constantly startled innocent man.
Rated 30 Apr 2011
80
81st
watched: 2011, 2020
Rated 18 Sep 2013
82
71st
82.000
Rated 23 Oct 2007
95
96th
One of my favorite Hitchcock films, the director employs certain Bressonian flourishes--the repeated focus on hands and feet, intrusive sound--along with affecting subjective shots and numerous shots of travelling (on foot or otherwise) that root the film in the world of the protagonist. Fonda says little in the film beyond his declarations of innocence, but the dark edge to the wife's story and the oppressive use of power create a chilling world where no one is safe.
Rated 13 Apr 2009
4
71st
"Hitchcock's coldest, hardest movie until its controversial ending."
Rated 07 Jun 2012
77
81st
This might be a true story but if the second part was fiction The Wrong Man could easily turn into a masterpiece!
Rated 15 Jan 2010
59
18th
812
Rated 30 Nov 2018
46
33rd
Very dated family drama that portrays old school values and naive romance. It lacked suspense and felt weak for a Hitchcock film.
Rated 14 Apr 2007
60
47th
Hitch kinda missed the target on this one
Rated 27 Aug 2017
78
60th
It starts off with some of the most tense and fascinating techniques in story telling that I've seen Hitchcock use. The film looks beautiful, but a slow pace kinda hurts it. However the film just doesn't answer the right questions. Sure, how will he get out is a fine question that drives the film. But what about who this guy is? Hitchcock doesn't seem to attempt to characterize the doppleganger, but instead focuses on the man's plight. Missed potential.
Rated 21 Dec 2006
60
29th
good effort, but it just doesnt work
Rated 01 Nov 2011
65
42nd
"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.
Rated 20 Dec 2009
96
96th
Stark, spare Hitchcock. Fonda gives one of his best performances here.
Rated 29 Jun 2012
90
80th
One of Hitchcock's favorite themes, the wrong man, gets explored in a true story, which makes the action more exciting. Anybody could've played the lead role, I think, so Fonda doesn't add much. But Vera Miles is on fire as Fonda's wife.
Rated 11 Aug 2014
80
50th
Hitchcock is not setting a standard with The Wrong Man. Facts have provided fiction for many films. Hitchcock has done a fine and lucid job with the facts in this interesting trial noir---which nevertheless has had a considerable impact on numerous directors like Godard and Scorsese---but they have been made more important than the hearts and dramas of the people they affect.
Rated 05 Sep 2012
70
54th
starts off really interesting and with a fresh touch to it. the fact that its filmed really nicely helps it along even more the first 30 minutes or so. after that the story simply couldnt keep up my interest anymore, and fondas boring face and single facial expression along with the quite ridiculous breakdown of his wife did nothing to help it further.
Rated 25 Dec 2010
80
66th
79.500
Rated 30 Aug 2010
3
45th
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.
Rated 11 Sep 2008
60
34th
My least favorite Hitchcock. It seems aloof and cold, its unbearable tone not creating suspense, but instead making everyone (actors and audiences) uncomfortable.
Rated 13 Sep 2010
80
81st
The coldest of all the Hitchcock movies.
Rated 01 Mar 2019
83
18th
83.00
Rated 07 Aug 2019
60
18th
Hitchcock's true-story-drama of a god fearing family man being falsely charged with a crime. At times exciting (it's Hitchcock, after all!); at times difficult to watch due to it's melodramatic moral naivité. Also sticking to the real events leads into a few anti-climatic developments at crucial moments.
Rated 28 Mar 2020
74
63rd
74.2
Rated 07 Mar 2023
4
55th
this is what it feels like to be poor.

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