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The Wrong Man (1956)
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Vue d'ensemble
Note Générale:
Réalisateur:
Scénaristes:
Date de sortie:
23 décembre 1956 (USA)
suite
Accroche:
The police were convinced... The witnesses were positive ...Yet he was... THE WRONG MAN suite
Intrigue:
True story of an innocent man mistaken for a criminal. full summary | add synopsis
Avis des utilisateurs:
Superb, couldn't be more relevant
plus de (80 total)
Ensemble
(Vue d'ensemble du casting, par ordre d'apparence)| Henry Fonda | ... | Christopher Emanuel 'Manny' Balestrero | |
| Vera Miles | ... | Rose Balestrero | |
| Anthony Quayle | ... | Frank D. O'Connor | |
| Harold J. Stone | ... | Detective Lt. Bowers | |
| Charles Cooper | ... | Detective Matthews | |
| John Heldabrand | ... | Tomasini | |
| Esther Minciotti | ... | Mama Balestrero | |
| Doreen Lang | ... | Ann James | |
| Laurinda Barrett | ... | Constance Willis | |
| Norma Connolly | ... | Betty Todd | |
| Nehemiah Persoff | ... | Eugene 'Gene' Conforti | |
| Lola D'Annunzio | ... | Olga Conforti, Manny's Sister | |
| Kippy Campbell | ... | Robert Balestrero | |
| Robert Essen | ... | Gregory Balestrero | |
| Richard Robbins | ... | Daniel, the guilty man |
Détails supplémentaires
Parents Guide:
Durée:
105 min
Pays:
Couleur:
Rapport de forme:
1,66 : 1 suite
Son:
Mono (RCA Sound Recording)
Classification:
Canada:PG (Ontario) |
UK:A (1957) |
UK:PG (1988) |
Brazil:16 |
Canada:14A (video rating) |
Argentina:13 |
Australia:PG |
Chile:14 |
Finland:K-16 |
France:U (re-release) |
Peru:14 |
USA:Approved (PCA #18117) |
West Germany:12
Lieux de tournage:
Société:
Curiosités
Anecdotes:
Cameo du metteur en scène: [Alfred Hitchcock]narrating the film's prologue. The only time he actually spoke in any of his films.
suite
Goofs:
Equipe ou équipement visible: As Rose is being led up the stairs of the mental treatment facility, the shadow of someone's head appears in the bottom left corner behind the lamp. It seems as though someone walked past a bulb.
suite
Guillemet:
[first lines]
Prologue narrator: This is Alfred Hitchcock speaking. In the past, I have given you many kinds of suspense pictures. But this time, I would like you to see a different one. The difference lies in the fact that this is a true story, every word of it. And yet it contains elements that are stranger than all the fiction that has gone into many of the thrillers that I've made before.
suite
Prologue narrator: This is Alfred Hitchcock speaking. In the past, I have given you many kinds of suspense pictures. But this time, I would like you to see a different one. The difference lies in the fact that this is a true story, every word of it. And yet it contains elements that are stranger than all the fiction that has gone into many of the thrillers that I've made before.
suite
Connexions De Film:
Référencé sur "Alfred Hitchcock Presents: Number Twenty-Two (#2.21)" (1957)
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Liens liés
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No special effects, not a single car chase, but the directing and acting slowly pulls you into a world gone askew. The circumstantial evidence builds against an innocent and sympathetic
character, who at one point is almost ready to concede that "jail would be
easier than this meat grinder". The realization is too much for Vera Miles and she cracks under the strain. Why do we now have Miranda rights? A kid
watching this movie today is probably annoyed or bored by the lack of CGI (with the exception of a rotating camera to simulate "the spins"), car chases and
explosions. But if you think being held without real evidence "can't happen here", you haven't been reading the papers: how about the Saudi college
student held for two years in jail for putting up a web site for his church?
(charges dropped for lack of evidence). And "the wrong men" and women in our society are disproportionately poor. Henry Fonda was lucky: they caught the guy red handed. But Hitchcock makes the point well: the working poor cannot afford a top lawyer, if you're lucky you get one who's smart and inexperienced. If you're not, you get an incompetent one, and end up in jail .
I was reminded of the Apu trilogy or DeSica's neo-realism, as this movie turns on facial expressions, the noir lighting, as quietly emotions build and you realize, yes he could serve time for this.
I'd put this next to "Blackmail" as one of Hitch's under-rated masterpieces.