Al filo de la noche

Barbara Stanwyck (as Leona Stevenson) is a neurotic woman, confined to her bed. She is married to the very attractive, and mysterious, young Burt Lancaster (as Henry Stevenson). Ms. Stanwyck relies on a state-of-the-art 1940s corded telephone to help communicate her needs. One evening, she picks up her phone and overhears two men plotting a murder; eventually, the crime moves too close to Stanwyck for comfort…

Stanwyck is excellent as the spoiled, arrogant, and wealthy, but, ultimately, helpless heroine of Lucille Fletcher's adapted radio play (the part was originated on radio by Agnes Moorehead). The story picks up some flaws in its extension into a feature film; it is most frustrating as (flashbacks) ((within flashbacks)) (((within flashbacks))) occur; and, the story becomes a little confusing. Still, Stanwyck's fine performance carries the film to an exciting, tense, conclusion.

******** Sorry, Wrong Number (9/1/48) Anatole Litvak ~ Barbara Stanwyck, Burt Lancaster, Wendell Corey

Barbara Stanwyck is marvellous! Although she's a rather unlikeable character, she thoroughly captivates your emotions. She drags you completely into her nightmare - you can't look away and like a real nightmare, the sense of not being in control is chillingly real.

Apart from the flashbacks, which epitomise the film noir tropes of the late forties, this film is Barbara Stanwyck alone and scared and trapped in her trappings of wealth. She's confined in the physical and mental luxury jail cell she's made for herself. It's an exceptional performance of a woman in despair driven to the edge, of knowing something awful is about to happen but not being able to do anything about it. It's a perfect example of how a film can stretch out tension and suspense tighter and more intense with each passing minute.

And I also loved it when in one of the flashbacks, Fred shouts to his wife: Hey Sally, Joe wants a bottle of beer and she obligingly dashes out to the shop: oh how 1940s!

In New York, the spoiled Leona Stevenson (Barbara Stanswick) is the invalid wife of the VP of a pharmaceutical industry Henry J. Stevenson (Burt Lancaster)and becomes aware of a murder that would be committed late night of that day through a "cross-wire", when she overhears two men planning the murder.

Leona tries to find the right number to tell the police and she discovers that her former friend and ex-girlfriend of Henry, Sally Hunt Lord (Ann Richards), had lunch with him. She recalls the first encounter with her husband and parts of her life with him through flashbacks. Along the night, she learns dirty secrets about Henry and she finds that she might be the intended victim.

"Sorry, Wrong Number" is a great film-noir with a suspenseful story and top-notch performances. The screenplay and the direction are excellent and keep the attention of the viewer until the end of the last scene. This movie deserves to be watched more than once and is highly indicated for fans of film noir. My vote is nine.

Title (Brazil): "A Vida Por Um Fio - O Clássico" ("The Life for One Line - The Classic")

Note: On 29 September 2013, I saw this movie again.

An expanded radio play and subsequent TV drama, this film builds terrific tension around a bedridden heiress and her telephone.

Sympathy builds for this unlikeable woman, Leona, played by Barbara Stanwyck. She is a spoiled heiress used to getting her own way, but as we come to see, very much created by her father (played by Ed Begley) who bows to all her wishes.

Her husband, Henry, played by Burt Lancaster, whom she chases and captures from her best friend, initially goes along with being an employee in her father's corporation but eventually starts chafing at the restraints imposed on him.

The movie just about plays in real time with the addition of many flashbacks, one of which secures the knowledge that there is nothing wrong with Leona, it is all psychosomatic based on her mother's fatal illness.

From the moment Leona accidentally overhears a plotted murder for later on that evening, the viewer is taken on a ride that builds suspense and tension to a terrifying conclusion and the movie's title.

Not to be missed. The cinematography is superb, a lot of play in light and shade. Barbara deserved an Oscar but lost. 8 out of 10.

Alfred Hitchcock himself praised this movie that was for him one of Barbara Stanwyck's most extraordinary parts.Besides,he did include Lucille Fletcher's short novel in his anthology "stories not for the nervous"(sic)

The story of this woman in her bed,who has heard on the phone someone is in danger,and who little by little discovers the horrible truth,is a first-class screen play which requires the viewer's attention,,or else he may lose the vital lead.The first people who enjoyed it had no pictures,since it was originally a radio broadcast,so they had to show a lot of imagination.The movie remains talky but the numerous flashbacks give it substance.The phone,is along with Stanwyck ,the star of Litvak's work;Burt Lancaster,a great actor though,only serves as a foil to both of them.50% of the dialogue consists of phone calls,that's what makes this thriller unique.

A strong connection with Hitchcock's work is the father's part(Ed Bigley).He is some equivalent of the Mother in many movies of his.The stuffed animals in his desirable mansion are a symbol of his daughter's lifelessness.(Coincidence?There will be such hunting trophies (and more) in his "psycho" twelve years later,and the topic is present in "the man who knew too much"(2nd version))

If you are fond of suspense,this is an unqualified must!