It was one of Alfred Hitchcock’s disappointments. And, perhaps, that’s why we see it so infrequently.
Still 1956’s The Wrong Man has some fine touches including a topnotch music score by the renowned Bernard Herrmann and atmospheric B&W photography and lighting (by Robert Burks). But since audiences don’t leave humming the scenery, the picture’s obvious flaw has to be grappled with.
That is to say, what is Henry Fonda doing in this picture?
The Wrong Man is the story of musician Manny Balestrero, a musician who makes a decent living working nights as a bass player at Manhattan’s Stork Club in New York, and who lives in a modest home in one of New York City’s outer boroughs (probably Queens). He is a solid working stiff, honest, reliable, devoted to his spouse.
Manny is besieged by money problems (he plays the horses) and the presence of his mentally fragile wife, Rose (Vera Miles). Nothing compares, though, with the anguish inflicted on him via the plot’s quirk of fate — one that nearly destroys him and his family.
Manny is mistaken for another man, a bank robber, when he innocently pays a visit to turn in his wife’s insurance policy. No joke. Manny is quizzed by detectives and jailed after being identified by insurance company employees.
The Wrong Man — based on a true story written by Maxwell Anderson — takes us through Manny’s tortuous legal proceedings and subsequent trial and mistrial. The plot sorts itself out in the end but not after Mrs. Balestrero goes off the deep end.
‘The Wrong Man’ (is) one of the bleakest films in the history of cinema, writes Film Noir specialist Alain Silver.
That may be a bit of an overstatement, but it’s not far off the mark. The movie is indeed grim, another reason, perhaps, why it’s not seen more frequently.
The role of Manny calls for a salty, proletarian turn from an ethnic actor, one who is fully credible as a musician. (Fonda is especially clumsy when shown to handle the bass at the Stork.) Not a chilly interpretation from a renowned star of the wooden, aristocratic bearing of a Henry Fonda.
He is great in 1957’s 12 Angry Men as the well-dressed, methodically principled defender of righteousness plopped in the midst of a sweaty New York jury. But something else is called for in The Wrong Man.
Manny is a well intentioned man working on the financial edge. Could have, say, a Richard Conte or a John Garfield played the part more convincingly?
THERE WAS NOTHING WRONG WITH THE WRONG MAN…
That was the title of an article I wrote for the Los Angeles Times some thirty years ago…
It was a lengthy article but I won’t bore you with the details, whilst Joe & Frank here are concerned that Henry Fonda was the WRONG MAN for the part, all the response I got at the time on that minor point ( real hand written letters back then), was that they all agreed with me that Fonda was the right man to play the real-life character of Manny Balestrero.
Now Joe & Frank suggest the likes of Richard Conte and John Garfield could’ve played it better, and maybe they’re right. But regardless of whoever you could name, this was not a movie that 1950’s audiences were prepared for.
The movie failed at the box-office for two main reasons –
First, the audience was expecting a typical Alfred Hitchcock suspense thriller, and they didn’t get it.
And secondly, and more importantly… It was the very subject matter of the movie, an innocent man is arrested and put on trial, identified mistakenly. It was one of very few HOLLYWOOD movies that showed just how easy it is to be subjected to such a nightmare.
THE WRONG MAN was the most honest, realistic and true-to-life film Hitchcock ever made. It showed for all to see on the big screen, that being innocent is no defense in a court of law. It broke the old held-on-high myth that well “if you’re innocent and did nothing wrong, you’ve got nothing to worry about.”
More than PSYCHO or FRENZY, this movie scared people. It showed them the dark side of life and how easily society can turn against you.
Now back in 1956 when this movie can out, it was still pretty much a time when you were still INNOCENT UNTIL PROVEN GUILTY under common law, excepting of course for mistaken identity or being framed by corrupt police.
But it was a dedicated honest NY detective that helped free this WRONG MAN.
In the Alice In Wonderland world of today though, the norm has become GUILTY TIL PROVEN INNOCENT, held indefinitely without charge or legal counsel.
With respect to Los Angeles and for someone arrested like Manny, the norm is spending up to two years in county jail downtown awaiting trial for simply not having the money to pay for bail, let alone for hiring a good lawyer.
They say 90% of all cases are plea bargained… Deals that make the police and prosecutors look good and efficient, at the expense of those convicted who are advised by both over-worked public defenders and over-paid defense lawyers, to “cop a plea” for a lesser offense regardless of being innocent or not.
There are no speedy trials in real-life like those depicted in movies and TV. And very, very few lawyers are not even a little close to being a crusading Perry Mason.
So many defendants are shocked into pleading guilty, as they don’t have the money or resources to take on the legal system.
THE WRONG MAN is a good book-end to Henry Fonda’s other look at the real legal system 12 ANGRY MEN. They make a great double-feature together, required viewing for everyone.
Fonda played Manny Balestrero straight as a typical everyday man. It’s rare in HOLLYWOOD that they choose the actor to fit the script, usually its the other way round.
Anyway, I’ll sum up my case with the very best piece of legal advice you’ll ever hear…
When arrested, say NOTHING, repeat NOTHING to the police, FBI, sheriff whoever, without an attorney present!
Because EVERYTHING you do say without an attorney present, will be used against you!
I don’t think John Garfield could’ve played it better, considering he’d been dead for four years already.