Watch: Sorry, Wrong Number 1948 123movies, Full Movie Online – Leona Stevenson is sick and confined to her bed. One night while 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..
Plot: Leona Stevenson is confined to bed and uses her telephone to keep in contact with the outside world. One day she overhears a murder plot on the telephone and is desperate to find out who is the intended victim.
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7.3/10 Votes: 11,471 | |
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N/A Votes: 136 Popularity: 7.48 | TMDB |
‘Sorry, Wrong Number’ isn’t a film that leaves a strong lasting impression, but its narrative and visual inventiveness and a thoroughly engaging plot make it an enjoyable journey into 40s film noir. If anything, you leave it with a great appreciation for Lucille Fletcher’s devilishly simple premise, one that certainly isn’t dulled by the transition from radio to cinema.
– Daniel LamminRead Daniel’s full article…
https://www.maketheswitch.com.au/article/review-sorry-wrong-number-an-inventive-slice-of-1940s-film-noir
‘Sorry, Wrong Number’ isn’t a film that leaves a strong lasting impression, but its narrative and visual inventiveness and a thoroughly engaging plot make it an enjoyable journey into 40s film noir. If anything, you leave it with a great appreciation for Lucille Fletcher’s devilishly simple premise, one that certainly isn’t dulled by the transition from radio to cinema.
– Daniel LamminRead Daniel’s full article…
https://www.maketheswitch.com.au/article/review-sorry-wrong-number-an-inventive-slice-of-1940s-film-noir
Strangers In the Night
Anatole Litvak directs the movie version of Lucille Fletcher’s radio war-horse Sorry, Wrong Number was gusto and drive. The photograpy is deceptively simple at first blush, but soon evolves, giving each scene an individuality and clarity not unlike deep-focus. There’s an overall feeling of gloom in this largely nocturnal movie, which is stylistically a sort of vest-pocket film noir Citizen Kane. Some of the touches border on the surreal, such as Lancaster’s (among others) repeated references to his home town of Grassville, which happened at least thirty-six times and grows alternately funnier and more disturbing with each passing mention. The feel of New York in summer has seldom been so well captured in a studio-bound film, as scene upon scene appears to be enveloped in fog or cigarette smoke, and the horns of boats moving down-river or out to sea are often audible, at times suggesting, not wholly inapprpriately, the world of Eugene O’Neill and his theme of universal frustration. For all this, there is little actual movement in the film, which reflects the heroine’s bed-ridden state, as scenes are acted out semi-theatrically, with characters talking to one another continuously, and whether wicked or benign seldom communicating clearly, as each little chat leaves someone more in the dark than before. The story moves, one might say, from one misinterpretation to another, until the climax, when all becomes clear, as tragedy trumps melodrama, giving the viewer a much needed jolt of reality.
Original Language en
Runtime 1 hr 29 min (89 min)
Budget 0
Revenue 0
Status Released
Rated Approved
Genre Drama, Film-Noir, Mystery
Director Anatole Litvak
Writer Lucille Fletcher
Actors Barbara Stanwyck, Burt Lancaster, Ann Richards
Country United States
Awards Nominated for 1 Oscar. 3 nominations total
Production Company N/A
Website N/A
Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length 2,411 m (Italy)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm