While on the telephone, an invalid woman overhears what she thinks is a murder plot and attempts to prevent it.While on the telephone, an invalid woman overhears what she thinks is a murder plot and attempts to prevent it.While on the telephone, an invalid woman overhears what she thinks is a murder plot and attempts to prevent it.
- Nominated for 1 Oscar
- 3 nominations total
Bill Cartledge
- Page Boy
- (uncredited)
Cliff Clark
- Police Sergeant Duffy
- (uncredited)
Joyce Compton
- Cotterell's Blonde Girlfriend
- (uncredited)
Ashley Cowan
- Clam Digger
- (uncredited)
Yola d'Avril
- French Maid
- (uncredited)
Suzanne Dalbert
- Cigarette Girl
- (uncredited)
Storyline
Did you know
- TriviaAnatole Litvak: Where Henry is having lunch with Sally, he asks his waiter if he knows who the gentleman is in the dark glasses at the table behind him. It is the director.
- GoofsTwice, Leona turns on a radio, and music begins instantly and strongly. Radios of the film's era contained vacuum tubes that needed some time to warm up.
- Quotes
Henry Stevenson: [to Leona] I want you to do something. I want you to get yourself out of the bed, and get over to the window and scream as loud as you can. Otherwise you only have another three minutes to live.
- Crazy creditsPROLOGUE: "In the tangled networks of a great city, the telephone is the unseen link between a million lives...It is the servant of our common needs-the confidante of our inmost secrets...life and happiness wait upon its ring...and horror...and loneliness...and...death!!!"
- ConnectionsEdited into Dead Men Don't Wear Plaid (1982)
Featured review
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.
helpful•3312
- telegonus
- Apr 23, 2001
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Details
- Release date
- Country of origin
- Language
- Also known as
- Zalim, pogresan broj
- Filming locations
- Hollywood, California, USA(telephone switchboard at a telephone company office on Gower St.)
- Production company
- See more company credits at IMDbPro
Box office
- Gross worldwide
- $1,838
- Runtime1 hour 29 minutes
- Color
- Aspect ratio
- 1.37 : 1
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