Carter Haskins

The Wrong Man (1956)

January 24th, 2023

So smart to have Balestrero established as innocent from the very first scene. A lesser film would use Balestrero’s innocence as a mystery, the central conflict of the first act or even the full film. By removing this as a point of interest so early, Hitchcock is able to let the cold, metallic process of Balestrero’s indictment hit the audience with its full force. The first hour is notably absent of any major scoring and inches along, moving almost in real time while never becoming anything other than entirely captivating. Identification is instant: Balestrero is wrongfully convicted of a crime, he and the audience are the only ones who know the truth. The aggression and accusations coming from the police seem directed at us. 

And once he is finally cleared of his charges, after his life has fallen apart, his children confused and Rose institutionalized, he is relieved. It’s an incredible moment because if you don’t sit and think about it, it really doesn’t seem strange.