Jugu Abraham Would be interesting to know how Hitchcock viewed religion. Here's a lovely film that shows the the power of prayers--with an obvious Catholic element (rosary, Jesus painting on the wall, etc.) It is also a film that reflects the director's childhood fear of prisons.

Antonius Block I have to say, usually in this country it's an African-American man who gets arrested as the 'Wrong Man', but this Hitchcock film is indeed based closely on a true story. It's interesting to ponder why Hitch announces that fact at the outset, and I suppose it's because therein lies the true horror: that at any time, while minding our own business, we might be arrested and accused of crimes we haven't committed. We might be have our freedom taken, get locked up in a cage, and find ourselves at the mercy of the judicial system. The scenes where Henry Fonda is imprisoned are absolutely brilliant, as are the ones of him on trial, looking around the courtroom, and noticing the trivial little behaviors of those around him, while his own life hangs in the balance. The pace of this movie is a little slow at times, but a part of that is intentional, and heightens the realism. The police procedures may have you shaking your head, as will the notoriously unreliable eyewitness testimony. There is a bit of a twist in the story concerning Fonda's wife, played by Vera Miles, which I didn't expect. It's not Hitchcock's best work, but it is the most direct statement of his concerning this motif which appeared in so many of his films, and certainly worth watching.

Christopher Reid Henry Fonda is a bass player for a band in the Stork Club in New York City. The club is real and they filmed scenes inside the actual club. Vera Miles is his loving wife and they have two boys. He is wrongfully accused of a crime and we share his experience. That's the basic premise of this movie. It's all based on a true story and as I understand, it's quite accurate. This movie is very different from Hitchcock's other films. He even introduces it himself in person, speaking directly to the audience explaining so.Normally, Hitchcock films revolve around murder, intrigue, suspense, the anticipation of disaster, deception, extreme human emotions like paranoia and obsession, characters doing risky things and hoping to not get caught. The Wrong Man is unique among his films that I've seen. We simply go through the motions of a man being mistakenly arrested. It's a scary concept but one that is obviously realistic. Many innocent people have been put to death or spent years in jail. And this movie delves into the kinds of emotions such a disturbing turn of events could provoke.I think it works because it focuses on Henry Fonda's point of view. We put ourselves in his shoes and feel his growing frustration and apprehension. The cops seem more like mean mob gangsters than righteous police officers. They treat him the way perhaps a violent criminal might deserve. But knowing he's innocent turns the crime back on the police. They take him through some tests and assure him that an innocent man has nothing to worry about. But they are increasingly brusk and it seems clear that they quickly find his innocence laughable.I recognised Herrmann's style early on. It's such great music. I love his motifs. Little slices of melody repeating with harmonic tension coming and going. It just works so well. It really enriches the movie and adds to the atmosphere.I love Hitchcock's direction. It really brings out emotion. We get quiet, close shots. Low angles, shadows. But mainly in key parts, not constantly. The film suddenly becomes dream-like but not in an obvious way. We feel as though time slows down and we meditate on this moment that lasts an eternity. Is that the killer? I can't bear to look. He focuses on what the characters are seeing and how they feel about it. The camera-work reflects their mental states.Fonda's innocent, fearful face is haunting. His wide open eyes. His confused, concerned expression. How is this possible? Is this really happening? He is so calm under the circumstances. They casually deny him the right to first speak to his wife. He's always on time and doesn't want her to be concerned. When he finally gets a temporary break from his ordeal, a relief from having his freedom abruptly taken away, he nearly collapses. Suddenly the weight of it hits him. He didn't have time to feel anxious, he was in survival mode. It reminds me of Tom Hanks at the end of Captain Philips or even the way you seem to sweat more *after* you finish running than during.There is a scene with a lawyer where Vera Miles visibly withers during a shot. It's subtle but powerful. You feel this cold hopelessness fall upon her. Resignation to her husband's fate. Any sane person would go insane in such a situation. There is no way to rationally accept that your loved one will be wrongfully put away in jail and there's nothing you can do about it. We want to feel hope and probably she does as well. But subconsciously she knows the chances are slim. And such thoughts can consume you.The Wrong Man may seem like a simple movie. No complicated plot or side-plots or too many characters. Not many twists really. Its suspense is in the slow torture of everything going wrong for an innocent man with a nice family. It can be hard to watch at times. But it observes the human emotions involved so honestly. We enjoy it because we really feel something and connect with the characters.It raises some moral questions as well. What kind of a legal system allows such errors, such injustices? The unnecessary stress and pain caused could be incalculable. I admire the way this film was made and it was every bit as tense and engaging as Hitchcock's other masterpieces. It is also quite moving and I even feel like I developed a love for the characters. I wanted to hug them and comfort them. I don't know how I would cope in such a situation.

atlasmb Like many of Hitchcock's films, "The Wrong Man" is a story of an average Joe who finds himself caught up in an extraordinary situation. Manny (Henry Fonda) is a docile soul who plays life by the rules. He is as predictable as clockwork in his habits and holds a steady job. He and his wife have two children and struggle to get by when they face medical bills.Peculiar circumstances align, and he is accused of a crime. As a result, his entire world is turned upside down.Hitchcock uses the camera to document Manny's perspective and the strangeness of Manny's new world, including the alien nature of the legal process, from procedures in a police station to legal proceedings in court to the inhumanities of incarceration.The film is based upon an actual criminal case, with liberties taken to heighten the suspense. The core of the story is the series of police procedures for identification that should never be used in today's world. Manny is rightfully scared of the improper and illogical methods used by the police, who apparently don't know any better. Because of Fonda's subdued portrayal of Manny, it is easy for the viewer to see himself in Manny. The film also documents the ancillary costs and the psychological effects of being the focus of a system dedicated to dispensing guilt and punishment.