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1956: THE WRONG MAN

Following eyewitness identifications a man (Henry Fonda, tremendous) is wrongly picked up by the police as an insurance office thief. Frighteningly combining arrogance and stupidity, the police seize on every opportunity to disprove the latter but each time confirm it. The passage where Manny is booked, incarcerated and, after a long night, arraigned in court encompasses Hitchcock’s most brilliant filmmaking. Almost pure pseudo-documentary, it is absolutely objective and, simultaneously, absolutely subjective—a profound revelation of Manny’s shame, distress and fear. Throughout the film, Robert Burks’s black-and-white cinematography blends documentary realism and dreamy noirishness.