Short Film Movie Review: MOUSSE (Sweden, 40min. Comedy/Crime)

  MOVIE POSTERMOUSSE, 38min, Sweden, Comedy/Crime
Directed by John Hellberg

MOUSSE is a medium length droll and blackly comic tale of an honest criminal and police ineptitude.

MOUSSE was the winner of best film at the 2014 FEEDBACK Film Festival. 

Watch the Audience FEEDBACK Video of MOUSSE:

Movie Review by Amanda Lomonaco:

Absolutely brilliant. I’ve seen this movie 3 times already and I can’t get enough of it. After watching it the first time at WILDSound, I could not stop thinking about how great it was, I even hunted parts of the soundtrack down, until finally I had to hunt down the film itself. This is especially surprising considering this film is one of the longer selections I’ve seen at WILDSound, standing at 41 minutes. Even if you’re not a lover of subtitles, I would give this film a try.

To begin with, the acting in this film is exceptional, particularly for a film with such a wide diversity of cast, and an equal diversity of languages. Every character in Mousse is meticulously developed and well rounded, and every performance throughout the film feels nothing but genuine. The casting of the elderly policemen could equally not have been more perfect as it added a surprising element of hilarity to the film.

It’s hard to call John Hellberg’s picture a “short film” given its ambiguous length, standing somewhere between a feature and a short film, but at no point during the film do you find yourself disengaged or uninterested. Hellberg propels the story forward through a series of juxtapositions that intertwine seamlessly into the main story line, and prevent any semblance of boredom. Moreover, the production quality gives no sense of cutting any corners, giving Mousse an almost feature like quality.

Between the odd translations and awkward pauses in communication, the age and attitude of the policemen, & the jokes the actors tell each other, it’s hard to say what part of Mousse isn’t hilarious. It’s almost as if Hellberg is trying to cover all his bases in the humour category, from visual, to verbal, he even throws a couple of fart jokes in there just in case.

If you haven’t caught on by now, I think this film needs more visibility. Heck, if it were a part of a DVD collection I would buy it right away just to show others. It will take a little more of your time than most short films, but you’ll be laughing so hard the whole time you’ll hardly notice it passing. This is the first of Hellberg’s films that I’ve ever encountered, but I hope to come across many more in the future.

 

Movie Review: TORN CURTAIN (1966) Directed by Alfred Hitchcock

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TORN CURTAIN MOVIE POSTER
TORN CURTAIN, 1966
Horror/Thriller Movie Review

Directed by Alfred Hitchcock
Starring Paul Newman, Julie Andrews, Lila Kedrova, Hansjörg Felmy, Tamara Toumanova, Ludwig Donath
Review by Steven Painter

SYNOPSIS:

An American scientist publicly defects to East Germany as part of a cloak and dagger mission to find the solution for a formula resin and then figuring out a plan to escape back to the West.

REVIEW:

Alfred Hitchcock never really worked with big stars, or at least he never worked with big stars he wasn’t familiar with. Ingrid Bergman and Cary Grant were making their second movies with Hitchcock when they appeared together in Notorious (1946). Grace Kelly and James Stewart had appeared in one Hitchcock movie apiece before appearing together in Rear Window (1954). Grant and Kelly had two Hitchcock movies under their belts before making To Catch a Thief (1955). So things were different when Hitchcock cast Paul Newman and Julie Andrews in Torn Curtain (1966).

Many things are different about Torn Curtain. For one, the movie has aged severely since 1990. The phrase “torn curtain” obviously refers to the Iron Curtain, which was the largest symbol of the Cold War. It no longer has any significance now that the war is over. It is also different because the two major stars, Newman and Andrews, had long, distinguished careers, but this movie is rarely mentioned as being a part of it even though they appeared in a movie directed by the world’s most popular director at this point. Perhaps the reason why this movie is not mentioned is because it is not that great. It received lukewarm reactions from audiences and critics when released and has only gotten worse since the fall of the Berlin Wall.

Our story begins on a boat filled with nuclear physicists. One of them, Michael Armstrong, played by Newman, is actually a spy for the U.S. government. His assistant and fiancée, Sarah Sherman, played by Andrews, has no idea of his real work. So she is very surprised when she finds out her husband has decided to defect to East Germany.

He does his best to lose her, she does her best to follow him and the two end up in an East German airport. Michael is celebrated by the East Germans as he is a symbol of people in the west getting fed up with democracy and coming over to their side.

Michael confesses to Sarah the real reason why he has defected. This scene is interesting, not only for the information gained, but because it occurs in a large hotel room in which the only lighting Hitchcock used seemed to come from natural places i.e. windows and lamps. Typically movies use light sources from off-screen, but act as if they are coming from on-screen. In this movie Hitch tried to keep all the light used coming from natural sources. It works to various degrees, but is most pronounced in this scene.

Adventures ensue as Michael has the task of trying to learn a secret formula from the East German scientist Dr. Lindt.

Michael is forced to murder Gromek, a taxi driver who brings Michael to a farm in which he has been instructed by the U.S. government to make contact with. Gromek gets some ideas as to why Michael is really in East Germany and Michael must kill him. Unlike other Hitchcock murders, this one is not short and pretty. It is long and hard. It was an attempt at Hitchcock to capture more realism, since killing someone is not as easy as it typically looks in the movies.

Michael meets Dr. Lindt and is able to trick him into giving him the formula. From here the suspense is ratcheted up as Michael and Sarah make a daring escape back to the west. They are the ones who create a sort of tear in the Iron Curtain by acquiring the formula.

The suspense in their escape is well done, but it should have been as each situation the coupe finds themselves in seems to have been taken from another Hitchcock movie. There is a bus ride with interesting characters that echoes similar trips in The Man Who Knew Too Much (1956) and Saboteur (1942). The couple ends up in a theatre, surrounded by bad guys. This is similar to The 39 Steps (1935), The Man Who Knew Too Much (1934) and (1956) and Stage Freight (1950). Of course Michael and Sarah get out of each situation in a different way than in previous Hitchcock movies. In the theater they shout “fire!” and everyone promptly moves towards the exits. Even the final escape for the couple, from a Scandinavian ship, seemed like a rehash from the Marx Brothers’ A Night at the Opera (1935). Michael and Sarah end up in the icy water, forced to swim ashore to the free west instead of being removed from the ship while hiding in boxes like the Marx Brothers were.

Torn Curtain probably wasn’t a bad movie when it was released. It is long and does rehash some familiar territory for Hitchcock, but the formula was effective and created suspense. It does lag in some parts, but Newman and Andrews give good performances. For today’s audience though, the movie can be hard to watch as the premise behind it has no relevance in the world of today.

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Movie Review: BATMAN FOREVER (1995)

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BATMAN FOREVERBATMAN FOREVER, 1995
Movie Reviews

Directed by Joel Schumacher
Starring: Val Kilmer, Nicole Kidman, Chris O’Donnell, Jim Carrey and Tommy Lee Jones
Review by Andrew Kosarko

SYNOPSIS:

The third installment in the “Batman” series. Here the Caped Crusader must once again contend with two strange-looking, personality-impaired villains. First, there’s maniacal ex-DA Harvey Two-Face, so named because half his countenance has been horribly disfigured by acid. Then there’s the wise-cracking, hyperactive Riddler, whose alter-ego Edward Nygma is a nerdy, highly disgruntled ex-employee of Bruce Wayne. Together, these two masterminds plan to conquer the world with a device that not only mesmerizes users with 3-D television images, but also transports the viewer’s thoughts into the Riddler’s mind. Batman also has to contend with two other new people in his life. One is lovely psychiatrist Chase Meridian, who has fallen in love with Batman…

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Watch the January 2016 Feature Screenplay Winner

WILDsound Festival's avatarWILDsound Festival

CRIME EXTRAORDINAIRE
Written by Howard Fridkin

SYNOPSIS:

Genres: Action, Adventure, Thriller, Crime

For the ultimate revenge, an internationally renowned mystery writer uses his latest novel as a blueprint to steal the Eiffel Tower.
CAST LIST:

NARRATOR – Holly Sarchfield
MONIER – Lorne Hiro
LAMADOUR – Peter Nelson
MANDRELL – Dan Cristofori
WORCHEV/FELICE – Geoff Mays
LORRAINE – Katelyn Vanier

Get to know writer Howard Fridkin:

1. What is your screenplay about?

For the ultimate revenge, an eccentric Parisian crime novelist financially persuades the world’s greatest detective, scientist and architect into helping him execute the greatest heist of all-time: stealing the Eiffel Tower.

2. Why should this screenplay be made into a movie?

It brings back to the cinema a more mature high action/adventure thriller in the tradition of such eventful classics as “The Guns of Navarone,” Where Eagles Dare,” “The Towering Inferno” and Goldfinger,” which were all box office giants…

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Movie Review: BOY & THE WORLD (2015) Directed by Alê Abreu

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boy_and_the_worldBOY AND THE WORLD (O Menino e o Mundo) (Brazil 2013) ***1/2
Directed by Alê Abreu

Review by Gilbert Seah

As in last year’s SHAUN THE SHEEP MOVIE, BOY AND THE WORLD is a wordless animated feature though gibberish Portuguese can be heard occasionally in the film’s soundtrack. Thus, this Brazilian import, has a more universal appeal, as it can be understood by people in countries speaking different languages.

The story is also a universal one. Being wordless, one must concentrate a bit more to put together the film’s narrative. The story concerns the boy of the film’s title, one who journeys to the big city, to see what is both fascinating and frightening. All this is captured by the film’s colourful visuals.

The film begins with the boy (animated as a stick figure with huge round Charlie Brown head with black slit eyes and no mouth) looking at a coloured rock. The patterns turn out to be inside other patterns as the camera weaves in and put different colours and patterns. All this is very mesmerizing and captivating. The boy then jumps onto a cloud and after jumps into the waters of a stream and runs into the woods.

The story involves the boy leaving for the city (that looks like Rio de Janeiro) in search of his father. He has various adventures including getting a dog, meeting mechanized workers (looking like THE WALL) and facing police oppression. The film also has abstract moments like the symbolic fight between good and evil as seen by the fight between a black bird and colourful phoenix.

The film contains beautiful moments such as the one emphasizing the importance of family, in which the boy eats bread with a melon dip with his mother and father. But the film has an overall bleak look as director Abreu lays his views on world pollution of lumber and oil, as well as the slow destruction of natural resources.

The visuals are amazing – simple and colourful being the two words best used to describe it – just like the kaleidoscope toy the boy looks and plays with. The segment of the tankers carrying colourful containers, all rectangular in shape filling the screen makes one of the more memorable moments. But just as amazing as the visuals is the film’s soundtrack that is made up of instruments like the flute, and Brazilian music like the samba and hip-hop.

The film has the feel of METROPOLIS and is at times, just as intense. To Abreu’s credit, the film is without dialogue and thus has to be more cinematic. Though the film is animated and about a boy, children might find the film difficult to understand. But the film has a total Brazilian feel about it – from the characters to the background.

BOY AND THE WORLD is welcome, very original adult animation so different from what other studios like Disney, Ghibli and Aardman provide. The film is unique and has won over 40 film festival awards so far.

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Movie Review: BATMAN RETURNS (1992)

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BATMAN RETURNSBATMAN RETURNS, 1992
Movie Review

Directed by Tim Burton
Starring: Michael Keaton, Michelle Pfieffer, Danny DeVito, Christopher Walken, Michael Gough
Review by Andrew Kosarko

SYNOPSIS:

The Caped Crusador (Michael Keaton) is pitted against the demented, ravenous Penguin (Danny DeVito), a pitiful, orphaned psychopathic freak who once went on a baby-killing spree, and a “power” hungry capitalist villain Max Shreck (Christopher Walken). As the two criminals plot to gain domination over Gotham City, BATMAN must plot to stop them. Cat Woman (fearlessly and fabulously played by Michelle Pfeiffer). She is the slinky, sharp-clawed alter-ego of Shreck’s secretary Selina. Batman must overcome his own dark past, and his present love entanglements, to rid Gotham of it’s evil enemies.

REVIEW:

People who like this movie seem to like it because it screams Tim Burton left and right. Some people who absolutely hate this movie…

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Movie Review: BATMAN (1989)

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BATMAN MOVIE POSTERBATMAN, 1989
Movie Reviews

Directed by Tim Burton
Starring: Jack Nicholson, Michael Keaton and Kim Basinger
Review by Mike Peters

SYNOPSIS:

Gotham City is under siege. Criminals and corrupt officials rule and the innocent are left defenseless. Crime boss Carl Grissom (Jack Palance) and his right hand man, Jack Napier (Jack Nicholson) are the true leaders of this city. They rule with an iron fist. However, Jack is eventually set up by Carl and is forced to fend for himself while on a routine mission at Axis Chemicals. This is where Jack, on the verge of escape from the police, first encounters Batman. Batman prevents Jack from escaping by dropping him into a vat of toxic chemicals. Jack reemerges as The Joker and vows to destroy the city of Gotham and Batman. Batman, on the other hand, vows to save the…

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Movie Review: VERTIGO (1958) Directed by Alfred Hitchcock

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VERTIGO MOVIE POSTER
VERTIGO, 1958
Classic Movie Review

Directed by Alfred Hitchcock
Starring James Stewart, Kim Novak
Review by Steven Painter

SYNOPSIS:

A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend’s wife, all the while becoming dangerously obsessed with her.

REVIEW:

Vertigo (1958) is the first of Alfred Hitchcock’s four straight masterpieces of the late-50s and early-60s (North by Northwest, Psycho and The Birds being the others). It also might be the best of the four. It is the most complex.

The story revolves around Scotty Ferguson, played by James Stewart, who is a retired detective in San Francisco. Ferguson retires after coming down with arachnophobia. The move opens with a rooftop chase. Scotty and another officer are hot on the trail of a criminal. They jump from roof to roof. The other officer makes the jumps fine, but Scotty has trouble on one. The officer stops his pursuit to help Scotty. Unfortunately for the two, Scotty has a case of vertigo and the officer loses his balance, falling from the roof.

While trying to get over his arachnophobia, Scotty spends a lot of time with Midge, a former fiancée, who is nothing more than an interesting character. In fact, she is basically forgotten in the second half of the movie for some reason. She is basically someone who is inserted for Scotty to talk to. She has some fine qualities, but they are not accented enough in her brief screen time.

Anyway, a former schoolmate of Scotty’s, Gavin, calls him up for a job. At first Scotty refuses — saying he is retired. But Gavin convinces him that the job is good. Scotty is asked to look after Gavin’s wife, Madeline, who seems to believe she is the reincarnation of an ancient relative named Carlota. Carlota had committed suicide and Scotty’s friend feels that Madeline will do the same.

Scotty sees Madeline first in a restaurant and then follows her throughout the next day. He is struck by her. In fact, the audience is captivated by her. Kim Novak, despite her tumultuous relationship with Hitchcock, does a great job in this movie. She is very photogenic and her presence captivates the audience. Hitch also devoted a lot of time to her trivial routines. Or at least what would normally be a trivial routine. Hitch makes sure we pay attention to Novak’s beauty and the beauty of the city.

This is where Vertigo stands out from a lot of Hitchcock movies. The story might be more complex than a lot of his other movies, but the photography is so simple. The city of San Francisco has never looked so good on film. The winding streets, the local shops (Ernie’s was one of Hitch’s favorite restaurants), the Redwood forest, the deep history of the Bay Area, are all brought to life. Of course there is the famous Golden Gate Bridge and the monumental scene where Scotty saves Madeline when she jumps into the bay. Typically movies shot in Technicolor tend to make colors too bright. That is not the case here as all the color saturation seems perfect.

Once Scotty saves Madeline, the two fall in love. Madeline is crazy though. Because of his love for her, Scotty is unable to notice the warning signs of Madeline’s suicide. She and he make a trek down the coast to an old mission. This is where Carlota died — it is where Madeline wants to die. Because of his arachnophobia, Scotty is unable to prevent Madeline from climbing the steps and throwing herself out the bell tower at the mission.

During an inquest, it is found that Madeline died accidentally and Scotty could do nothing to prevent her death. The scenes in the mission bell tower are most famous for Hitchcock’s “Vertigo shot.” The shot that mimics the effect of vertigo was something Hitch had been working on for over 20 years. It was finally perfected here and was done by using miniature models. The camera was moving toward the models while the lens was zooming out. The technique has been used in movies many times since Hitch first pioneered it.

Devastated by another death he feels he could have prevented, Scotty goes into rehab. This is the last time we see Midge, as she and the other doctors are unable to get Scotty back on track. After an unspecified length of time and for some unknown reason, Scotty is taken out of rehab and put back in the real world. Here he drifts along thinking about Madeline. One day, while walking along the street, Scotty notices a girl who looks a lot like Madeline. He stalks his prey to her hotel where he makes his move. The girl’s name is Judy. After some resistance she agrees to go out with Scotty. After their first date, in which Scotty talks a lot about Madeline, it is revealed to the audience that Judy is in fact Madeline. Kim Novak plays both characters and just has dyed her hair. Although there are times when it seems that she has done more than just dye her hair to change from Madeline to Judy.

This would be a good time to mention that Novak was not Hitch’s first choice for the role. He wanted to use Vera Miles. But since it took so long for a script to be written, Miles was unable to be used because she got pregnant. So Novak was used and Hitch didn’t like her. The two didn’t get along. Novak had other ideas on how the play the character. Despite the tension, the performance on the screen is great.

Scotty decides to remake Judy in the model of Madeline. Of course Judy resists this. She had been hired by Gavin to play Madeline once in order to cover up the murder of Gavin’s real wife, the real Madeline. Since Scotty had arachnophobia, something Gavin knew, Scotty would be unable to save Madeline when she “jumped” from the bell tower. In fact, Judy ran up the bell tower where Gavin threw his wife’s body off.

This is not realized by Scotty until the fully remade Judy puts on a necklace that had belonged to Madeline and Carlota before her. Obsessed with the crime, Scotty forces Judy back to the mission and up the steps of the bell tower. In triumph, Scotty makes it to the top. In tragedy, footsteps are heard coming up the stairs and Judy jumps out of the tower in one of the most frightening scenes of the Hitchcock cannon.

Vertigo is a masterpiece plain and simple. It is regarded highly by critics, scholars and audiences. The main reason for this can not be found, at least to me. It has some sort of quality that just makes it enjoyable to watch. Maybe it is the complex story. Maybe it is the luscious scenery. Maybe it is the performance of Jimmy Stewart. Maybe it is the chemistry between Stewart and Kim Novak. Whatever it is, this movie is a must see for anyone who likes movies.

 

 

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Movie Review: THE FOREST (2016) Horror

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the_forest_posterTHE FOREST (USA 2015) ***
Directed by Jason Zada

Review by Gilbert Seah

The beginning of January usually sees new low budget films make number one at the box-office. Universal’s little horror flick , THE FOREST aims to do just that, and hopefully keep their fantastic 2015 year of box-office hits carried over to 2016.

Twins have always been a favourite pick in the horror genre. Films like Brian De Palma’s SISTERS, David Cronenberg’s DEAD RINGERS and others like THE OTHER and last year’s German GOODNIGHT MOMMY are prime examples. THE FOREST combines the twins story to a haunted forest plot in a relatively scary film about a young woman Sara (Natalie Dormer) who travels to Japan’s forest below Mount Fuji to search for her missing twin, Jesse (also played by Dormer but with black hair).

For a ghost story, there is little gore except a stabbing and a few imagined maggots. Director Zada is fond of false alarms to scare the audience out of the seats. These include a homeless man suddenly banging Sara’s taxi window in Japan, her dream of little Jesse in the tent screeching at her and scares from a Japanese teenager in school uniform among others.

At its best, the film has genuine cinematic scares. The dark of a forest is already creepy in itself. THE BLAIR WITCH PRJECT was scary enough with its camping segment shot mainly in the dark. Zada utilizes the segment in which Sara sits in the tent in the forest to stay the night waiting for her sister to return, to maximum effect. The use of light and shadows from the burning fire adds to the creepiness. Sara’s fall into a huge hole and exploring an underground cave also adds to the film’s best moments.

Story-wise, the plot is simple enough. It is a sister’s search for her twin in a Japanese forest known as a place where people go to die. A few loose ends could be easily explained. One immediate point that is questionable is character Rob (Eoin Macken), who meets Sara. He is supposed to be an Australian journalist in Japan. But he speaks with an American accent. But from the dialogue that specifies Rob as a traveller, it could be assumed that Rob is American with an Australian posting. One scene has the Japanese guide tell Sara that in the forest bad things can happen, but they are not real and are all in the head. This is an excuse for other non-explanations in the plot such as Jesse’s photos on Rob’s cellphone or Rob’s answer to Sara that Jesse has been dead for 5 days. These could be dismissed as imaginations in Sara’s head.
Still, this relatively slow moving horror movie is well scripted by no less than 3 writers. Zada’s direction is apt enough and there are sufficient scares – false alarms or real ones.

Do not expect scenic shots of Mt. Fuji or its forests below. The film was actually shot in a National Park in Serbia with an entire crew of Serbians, as can be seen in the end credits. But the cinematography is excellent for a horror flick and the Serbian National Park looks like quite the place to visit.

THE FOREST will definitely make one think twice when camping at night.

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Movie Review: THE WRONG MAN (1956) Directed by Alfred Hitchcock

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THE WRONG MAN MOVIE POSTER
THE WRONG MAN, 1956
Classic Movie Review

Directed by Alfred Hitchock
Starring Henry Fonda, Vera Miles
Review by Steven Painter

7.5/10 fan rating on IMDB

Read more professional reviews

SYNOPSIS:

The police were convinced… The witnesses were positive …Yet he was… THE WRONG MAN

REVIEW:

“The Wrong Man” could have been the title for many movies directed by Alfred Hitchcock. It was bestowed on a movie he directed in 1956. The tone of the movie is different from other Hitchcock ones. It is also out-of-date, a rarity among the works of Hitch before the late-60s. Despite these drawbacks it is wonderfully acted.

The Wrong Man is based on a true story. This is probably one of the reasons why there is a lack of humor in it. Hitch always used humor in his movies to counteract the suspense. He felt the audience needed to be let off the hook at times. There is no humor present here. It is a straightforward, grim look at the breakdown of a family.

The story involves Christopher Emmanuel Balestrero, played by Henry Fonda, known as Manny to his family. He is a musician at New York’s Stork Club, trying to make ends meet like a lot of other people. He has a wife, Rose, played by Vera Miles, and two young sons. Rose has recently gotten some dental work done, so the family is in financial difficulties. Despite these difficulties, Rose and Manny try their best to hide it from their kids.

Manny decides to borrow a little money against Rose’s life insurance policy. When he goes to the insurance office, some workers there claim that Manny is the person who recently committed armed robbery in the office. The man had not been caught yet. So the next evening, Manny is picked up outside his house by the police.

One of the reasons why Hitchcock wanted to make this movie was because it involved a scene where Manny is being driven through his own neighborhood in the back of a police car. He sees the normal, trivial routines of everyone, but is unable to take part in any of it. Instead, he is caged in. This fear of being picked-up by the police for something that he didn’t do, is something present in all of Hitchcock’s works and a great fear the man himself had. Manny is brought into the police station. In this pre-Miranda rights era, he is held with no reason. Of course arguments could be made today that the Miranda rights are being ignored by police officers, but at least at this point in time, there were no such rights. This is one of the biggest drawbacks of the movie. It is outdated in this instance and because a lot of audience sympathy is built up because Manny is held with no rights, it just doesn’t seem believable today.

Anyways, Manny is held and some local business owners are brought in to identify him. They can’t say for certain if Manny is the robber, but he seems close enough to the real criminal in looks and handwriting. This satisfies the police and they continue with their prosecution.

Strapped for money and with a husband facing a trial, Rose begins to lose it. She drifts farther and farther from Manny, the kids, and the world itself. Eventually she has to be put in an asylum. This secondary vein of the movie distracts from the main story of Manny being falsely accused of the crime, but in Hitchcock’s defense, the real wife of Manny did in fact end up in an asylum.

As with all things of this time period in Hollywood, the movie has a happy ending. In a great dissolve shot, we see Henry Fonda’s face become that of the real robber. The real robber is caught while trying to rob another store in the neighborhood. When this robber is brought in to be identified, the storeowners come in and say the same things they did when Manny came in. Of course Hitch put this in to cause some doubt in the audience. He asks “do we really ever know who the right man is?”

The movie ends with a blurb across the screen stating that the Balestrero family lived happily ever after. In real life, Rose was committed to the asylum and never regained her sanity. The ordeal crippled the family, instead of making them stronger – as the movie implies.

The Wrong Man is not a bad movie. It is outdated and it is grimier than most Hitchcock movies. But it is well acted. Vera Miles and Henry Fonda give tremendous performances. For this reason alone the movie should be watched. But if you need another reason, the fear of being a falsely accused person with no rights is something that is inherent in a lot of people. That fear is played out in this story.

 

 

 

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