Struggling artist Geoffrey Carroll meets Sally whilst on holiday in the country. A romance develops but he doesn't tell her he's already married. Suffering from mental illness, Geoffreyy ... See full summary »
Thelma Jordon is in love with a jewel thief, Tony Laredo, and he persuades her to go live with her rich aunt, and steal her jewels. During the robbery, she shoots her formerly-rich aunt, ... See full summary »
Leona Stevenson is sick and confined to her bed. One night, whilst waiting for her husband to return home, she picks up the phone and accidentally overhears a conversation between two men planning a murder. She becomes increasingly desperate as she tries to work out who the victim is so the crime can be prevented. Written by
Col Needham <email@example.com>
Barbara Stanwyck claimed that the terror she played in the bedroom scenes is actually what made her hair begin to prematurely gray. See more »
Twice Barbara Stanwyck turns on a radio and they instantly begin to play music. Radios of the film's era would have required some time to warm up. See more »
Operator! Operator! Operator!
Voice of Operator:
Your call please?
Operator, I've been ringing Murray Hill 35097 for the last half hour and the line is always busy. Will you ring it for me, please?
See more »
Anatole Litvak directs the movie version of Lucille Fletcher's radio war-horse Sorry, Wrong Number was gusto and drive. The photograpy is deceptively simple at first blush, but soon evolves, giving each scene an individuality and clarity not unlike deep-focus. There's an overall feeling of gloom in this largely nocturnal movie, which is stylistically a sort of vest-pocket film noir Citizen Kane. Some of the touches border on the surreal, such as Lancaster's (among others) repeated references to his home town of Grassville, which happened at least thirty-six times and grows alternately funnier and more disturbing with each passing mention. The feel of New York in summer has seldom been so well captured in a studio-bound film, as scene upon scene appears to be enveloped in fog or cigarette smoke, and the horns of boats moving down-river or out to sea are often audible, at times suggesting, not wholly inapprpriately, the world of Eugene O'Neill and his theme of universal frustration. For all this, there is little actual movement in the film, which reflects the heroine's bed-ridden state, as scenes are acted out semi-theatrically, with characters talking to one another continuously, and whether wicked or benign seldom communicating clearly, as each little chat leaves someone more in the dark than before. The story moves, one might say, from one misinterpretation to another, until the climax, when all becomes clear, as tragedy trumps melodrama, giving the viewer a much needed jolt of reality.
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