Sorry, Wrong Number

Heck of a thriller, though the narrative is difficult to piece together at times. Stanwyck gets to run through a gamut of hysterical emotions as the intended victim. Her Leona is not particularly likable as the rich man's daughter who gets her way by bullying people around her. So there's some rough justice in her predicament—alone, disabled and dependent on the phone while a killer seemingly stalks her. Even the independent working-man, a studly Henry (Lancaster), is bullied into taking up with her. Of course, it doesn't hurt that she's got scads of money to assist her schemes. Incidentally, catch how Henry's several capitulations to others (Leona, Morano) are marked by allowing them to light his cigarette. Nice touch.

The idea of only gradually revealing why Leona is being set up for murder is a good one. It adds to the suspense—not just a 'when' but also a 'why'. The trouble is the disclosure is only revealed in pieces over the phone using flashbacks, and these are hard to piece together over a stretch of time. But enough comes through that we get the idea. There's some great noir photography from Sol Polito that really adds to the tense atmosphere. Anyhow, it's a great premise that also played well over the radio that I recall as a kid. It's also a subtle irony that one could end up being so alone in the middle of a great city. Poor Leona, maybe if she had been a little nicer and less bossy over the phone, she might have made the human connection she needed.

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.

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

A woman confined to a bed overhears a murder plot on a crossed telephone line and tries to alert the police. The plot structure is quite convoluted, with most of the story told in flashbacks. In fact there are flashbacks within flashbacks, making it somewhat hard to follow. The audience is supposed to feel sympathy for Stanwyck, but the character is too self-centered and whiny for that to happen. Given her character's propensity for histrionics, the actress manages to keep her performance somewhat controlled; Lancaster is fine as her trophy husband. Litvak creates a good film noir atmosphere, although at times his camera roams aimlessly, becoming a distraction.

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.