Sorry, wrong number (1948) DVDRip Dual Esp-Eng (SiRiUs sHaRe).avi
Sorry, wrong number (1948).rtf
Sorry, wrong number (1948)
Leona Stevenson is sick and confined to her bed. One night, whilst waiting for he 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.
Equivocadamente, una mujer escucha por teléfono los planes criminales de dos asesinos. Están hablando de asesinar a una mujer; no tarda en percatarse de que la víctima no es sino ella misma.
Barbara Stanwyck ... Leona Stevenson
Burt Lancaster ... Henry Stevenson
Ann Richards ... Sally Hunt Lord
Wendell Corey ... Dr. Alexander
Harold Vermilyea ... Waldo Evans
Ed Begley ... James Cotterell
Leif Erickson ... Fred Lord
William Conrad ... Morano
John Bromfield ... Joe - Detective
Jimmy Hunt ... Peter Lord
Dorothy Neumann ... Miss Elizabeth Jennings
Paul Fierro ... Harpootlian
Once you get over the fact that 40-year old Stanwyck is playing a wealthy college coed who marries a 34-year old Burt Lancaster (who is also playing a twentysomething), this is a superb thriller with an ending that packs a wallop no matter how many times you see it. The supporting casts includes Leif Erickson from the TV series "HIGH CHAPARRAL" and a very young William Conrad from "CANNON" fame. Next to "DOUBLE INDEMNITY", this is Stanwyck's finest cinema moment as she metamorphisizes from a spoiled, wealthy hypochondriac, so used to bending her husband and father to her will, into a terrified and helpless victim.
I still say "Girl, get outta bed and RUN!" every time I watch the tape.
Lucille Fletcher wrote the original version for the radio. It only lasted 22 minutes, which then grew to one hour and then to 89 minutes of playing time in the film version. Since the original work had everything it needed to create the suspense and paranoia that Leona Stevenson felt, other situations were added to fit into a motion picture release.
Anatole Litvak brought the film into the screen, letting Ms. Fletcher write the screen adaptation. The film relies on the use of flashbacks in order to tell the story, otherwise it would have been impossible to have the original premise play so long on the screen. Supposedly the crime was going to be committed at 11.15PM as the subway train went across the Queensboro bridge.
Barbara Stanwyck, an actress who did great work on films of this genre, was perhaps the wrong choice for Leona Stevenson. As the hysterical woman who discovers an assassination plot when she hears a conversation on the telephone, Ms. Stanwyck was not as effective as in other roles. The pairing of Burt Lancaster with her shows no chemistry between them, even when one realizes why his Henry Stevenson marries Leona. Mr. Lancaster seems awkward in most of his scenes.
The film asks a lot of the viewers in making them believe how Ms. Stanwyck, who was in her forties, is seen as a young college student, always looking like she does as her older self as when we first meet her as the film opens, and she is supposedly, a woman of a certain age!
The film is a "must see" for fans of Ms. Stanwyck, who could have been better, perhaps directed by another director.
"Sorry Wrong Number" lacked the humor and humanity of Hitchcock's 'Rear Window,' but was more relentlessly frightening, and, like "Rear Window," it exerted its grip because of the helplessness of the principal character, confined to one room…
Barbara Stanwyck played, with terrifying conviction, a wealthy, neurotic, partly paralyzed, bedridden woman, alone at night in her New York home with only the telephone for company because her husband, Burt Lancaster, has given the staff he night off…
Calling to see why her husband is not back from his office… Stanwyck gets a crossed line and hears two men discussing a murder which one of them has been paid to do that night: paid by a husband who wants to get rid of his rich, neurotic and bedridden wife whose servants have been given the night off..
At first, Stanwyck does not realize that she is to be the victim. Then, as the killing hour approaches, she does realize… In mounting panic she starts calling the police, her doctor, anywhere for help...
As the vulnerable woman menaced, Stanwyck won her a fourth Oscar nomination… Her bedside telephone has a star role to play...
Lancaster was sufficiently persuasive as the husband, who only can save his own life by getting money for his gambling debts…