An Italian-American neighborhood in Louisiana is disturbed when truck driver Rosario Delle Rose is killed by police while smuggling. His buxom widow Serafina miscarries, then over a period ... See full summary »
A fast-talking traveling salesman with a charming, loquacious manner convinces a sincere evangelist that he can be an effective preacher for her cause.
Director:
Richard Brooks
Stars:
Burt Lancaster,
Jean Simmons,
Arthur Kennedy
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 <col@imdb.com>
1948 was a good year for director Anatole Litvak with this film proving a success at the box office. His other film of that year was O Fosso das Víboras (1948), another sizeable hit, that also attracted considerable critical attention (mainly for Olivia de Havilland's performance as a mental patient) as well as seven Academy Award nominations, including one for Best Director. See more »
Goofs
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 »
Quotes
[first lines]
Leona Stevenson:
Operator! Operator! Operator!
Voice of Operator:
Your call please?
Leona Stevenson:
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?
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It's stylish, no doubt, and the ending is a remarkably shocking nail biter for its time, but "Sorry, Wrong Number" seems like an awfully overwrought affair now. Barbara Stanwyck acts up a storm as a bed-ridden woman who inadvertently hears plans for a murder over her phone and spends the rest of the film trying to get help. It's like a melodramatic, women's picture version of "When a Stranger Calls." The film is fleshed out with a lot of back story that feels more like padding than anything else, but I guess they had to fill out the run time with something, since the basic story could have been told in 15 minutes. Stanwyck handles the film like a pro. Even when she's overacting (which is often) she keeps you thoroughly interested in this rather silly affair. She would win her last Best Actress Academy Award nomination for this film, forcing the Academy to toss her a consolation honorary award over thirty years later, one more shameful oversight in the Academy's long and unmatched history of shameful oversights.
True noir lovers take note---this is not really a film noir, not in the strictest sense of that overused phrase. But it's an entertaining way to spend an hour and a half.
Grade: B-
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It's stylish, no doubt, and the ending is a remarkably shocking nail biter for its time, but "Sorry, Wrong Number" seems like an awfully overwrought affair now. Barbara Stanwyck acts up a storm as a bed-ridden woman who inadvertently hears plans for a murder over her phone and spends the rest of the film trying to get help. It's like a melodramatic, women's picture version of "When a Stranger Calls." The film is fleshed out with a lot of back story that feels more like padding than anything else, but I guess they had to fill out the run time with something, since the basic story could have been told in 15 minutes. Stanwyck handles the film like a pro. Even when she's overacting (which is often) she keeps you thoroughly interested in this rather silly affair. She would win her last Best Actress Academy Award nomination for this film, forcing the Academy to toss her a consolation honorary award over thirty years later, one more shameful oversight in the Academy's long and unmatched history of shameful oversights.
True noir lovers take note---this is not really a film noir, not in the strictest sense of that overused phrase. But it's an entertaining way to spend an hour and a half.
Grade: B-