Christopher Balestrero (Fonda) is mistaken for a bank robber and has no evidence to support his innocence.
The first film of the greatest British director to be based on a true story Alfred Hitchcock gleefully sets the viewer up for the ride by standing in the middle of an unknown place and telling us so. As the screen fades and we meet Henry Fonda in his home with Vera Miles and kids we have a set up for a tantalizing story of mistaken identity and criminal injustice.
Initially the build up is fairly sluggish as Christopher is leading a pretty standard family portrayal and after ten minutes or so we follow the main character into the bank to enquire about a loan and then the ante is generated.
The bank recognizes the face of Christopher to be the face of a recent robber in the area, and after skilfully denying the application, the bank turn him away. A wonderfully shot pickup at his very home and Chris is involved with the police who order him to walk into stores and back out so the cashiers and workers can identify him. This tactic by the police is certainly different from your stereotyped police perception in modern crime films and as with Hitchcock's fear of the Police, they certainly generate a calm but underlining authority over everyone.
The plot continues to spell out challenges for Fonda's character who suffers torment and pain physiologically and physically in the hands of the police in prison. One excellent moment comes when Hitchcock places Fonda against the wall in his cell, giving the feeling of horrible claustrophobia and uses the camera to swivel around and around, giving off haziness and a delicious sense of nausea.
Fonda does well in the lead role, capturing the personality of a known innocence but struggling to deal with the new surroundings and predicament he is in. He is however not as captivating in this role as other big names in Hitchcock films, such as Cary Grant.
What was a great surprise however was Vera Miles as Chris' wife. In almost a supporting role she is quietly accurate as a troubled wife and her decent into madness would make Hamlet look silly. This spices up an added sense of drama and contributing to the real story scenario, it is a credit to the actress.
The plot moves slowly with a few action sequences and bearing in mind this is a real event that was inevitable but for Hitchcock you expect more and the film is almost a sad let down because of it.
Nevertheless this is still well shot with a glorious exploration of the law order with some wonderful performances and excellently set up scenes.
The first film of the greatest British director to be based on a true story Alfred Hitchcock gleefully sets the viewer up for the ride by standing in the middle of an unknown place and telling us so. As the screen fades and we meet Henry Fonda in his home with Vera Miles and kids we have a set up for a tantalizing story of mistaken identity and criminal injustice.
Initially the build up is fairly sluggish as Christopher is leading a pretty standard family portrayal and after ten minutes or so we follow the main character into the bank to enquire about a loan and then the ante is generated.
The bank recognizes the face of Christopher to be the face of a recent robber in the area, and after skilfully denying the application, the bank turn him away. A wonderfully shot pickup at his very home and Chris is involved with the police who order him to walk into stores and back out so the cashiers and workers can identify him. This tactic by the police is certainly different from your stereotyped police perception in modern crime films and as with Hitchcock's fear of the Police, they certainly generate a calm but underlining authority over everyone.
The plot continues to spell out challenges for Fonda's character who suffers torment and pain physiologically and physically in the hands of the police in prison. One excellent moment comes when Hitchcock places Fonda against the wall in his cell, giving the feeling of horrible claustrophobia and uses the camera to swivel around and around, giving off haziness and a delicious sense of nausea.
Fonda does well in the lead role, capturing the personality of a known innocence but struggling to deal with the new surroundings and predicament he is in. He is however not as captivating in this role as other big names in Hitchcock films, such as Cary Grant.
What was a great surprise however was Vera Miles as Chris' wife. In almost a supporting role she is quietly accurate as a troubled wife and her decent into madness would make Hamlet look silly. This spices up an added sense of drama and contributing to the real story scenario, it is a credit to the actress.
The plot moves slowly with a few action sequences and bearing in mind this is a real event that was inevitable but for Hitchcock you expect more and the film is almost a sad let down because of it.
Nevertheless this is still well shot with a glorious exploration of the law order with some wonderful performances and excellently set up scenes.