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| Barbara Stanwyck, A+ in an atypical role, as a weak, wealthy woman, who overhears a plan for murder, in 1948's film noir suspense film, "Sorry, Wrong Number." |
*Spoiler alerts ahead*
The 1948 movie version of Sorry, Wrong Number caused some
criticism with some critics and film fans at the time—and even thereafter. It
was adapted from an instant classic radio play by Lucille Fletcher. The star
was Agnes Moorehead as a rich hypochondriac who overhears a phone
conversation of a plot to commit murder that very night. It then turns out she
is to be the victim! The radio play was a one-character show, offering a tour
de force for Moorehead.
When Paramount and Hal
Wallis snapped up the film rights, casting a star name was standard to carry a
movie. I think a number of mature actresses could have been great in the role,
but Hal picked one of his favorites, Barbara Stanwyck.
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| The gradual unraveling of Leona Stevenson when she realizes that she is to be a murder victim is superbly played by Barbara Stanwyck in "Sorry, Wrong Number." |
Since then, there’s
been a bit of a bias against the movie version, favoring the radio play. It
goes something like this: Hollywood buys the rights of the half hour play,
casts a big movie star and pads it out to 90 minutes. But the play is far
superior, in less time, don’t you know.
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| Agnes Moorehead, who originated the role of Leona Stevenson for radio, in "Sorry, Wrong Number." |
I get the criticism, but I still
prefer the film. I'm not of the school that Agnes Moorehead was robbed and that
the movie version was watered down because it was fleshed out to 90 minutes. (Playwright Fletcher also wrote the movie screenplay). Aggie was a great actress, but listening to her become increasingly
hysterical, with her naturally querulous voice escalating, was more
grating than great, for me. Agnes won much praise for her supporting
scenes as a nympho neurotic in Dark
Passage the year before, but Moorehead’s few scenes were plenty for me. I can’t
imagine 90 minutes of Agnes’ overstated shrillness front and center. I much
preferred Barbara Stanwyck’s contrasting understatement. The back story brought
Sorry, Wrong Number to just shy of 90
minutes, which was just right, typical for a noir thriller.
Barbara Stanwyck was a no-nonsense woman who usually played strong characters, is quite good in
the role of an unsympathetic, spoiled daddy's girl. Stanwyck's innate
likability makes Leona Stevenson more empathetic, despite the fact the
character is basically a royal pain. Stanwyck was one of the acting greats of
her era and goes from imperious to insecure to incoherent with fear and
helplessness, all without overacting.
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| By the finale of 1948's "Sorry, Wrong Number," Barbara Stanwyck's spoiled rich matron is at the end of her tether--and soon, her life! |
The movie is filled
out with flashbacks of Leona and her bought and paid for husband Henry's
relationship. There, the tough side of Stanwyck as Leona fits Barbara like a
glove. Their courtship and relationship is skillfully depicted, especially as
the marriage deteriorates. Henry wants to make his own way, working for her
father, while the father and daughter both want a docile pet. This causes Henry
to eventually take drastic action, as he gets mixed up with unsavory characters
that end up calling in to collect on their favors to him. Henry has to take
drastic action, putting a hit out on his wife.
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| A flashback scene of the woman used to getting what she wants is more familiar Barbara Stanwyck territory, in 1948's "Sorry, Wrong Number." |
The scenes of
Barbara’s deluxe lifestyle is intermingled with her father’s crude depiction of
wealth and the drug dealing criminals husband Henry gets mixed up with, which is
depicted in jarring film noir style.
The cast is terrific,
from Stanwyck, down to Ed Begley, Sr. playing her tough dad, to William Conrad
as a chilling baddie, and Ann Richards as Henry's good-hearted former
girlfriend. Burt Lancaster is well-cast, since he could be strong or shady,
though this isn’t the kind of role that makes for a great leading man. A
bit like when Kirk Douglas played Barbara Stanwyck’s even weaker bought husband
in 1946’s The Strange Love of Martha
Ivers. Both Burt and Kirk soon got away from supporting film divas as
weasels and driving in their own movie vehicles.
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| Burt Lancaster, in one of his early roles, as the trophy husband for rich girl Barbara Stanwyck in 1948's "Sorry, Wrong Number." |
The film version of Sorry, Wrong Number is extremely
stylish, right from the opening credits, and you are sucked right in. At the
end, as the noisy city train roars by, when Leona is killed in her luxury
apartment, is another statement of lifestyles juxtaposed against one another.
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| The 1948 film version of "Sorry, Wrong Number" is stylish suspense right from the opening credits! |
Sorry, Wrong Number has had various TV versions starring such
diverse actors as Mildred Natwick, Shelley Winters, and Loni Anderson! Geraldine Page would have been great as the
high-strung heiress in the ‘60s or early ‘70s.
The direction by
Anatole Litvak is strong, and he would direct Olivia de Havilland in The Snake Pit the same year. The cinematography
by Sol Polito is perfect for a film noir suspense film, as stylish as his work
in 1940’s The Letter with Bette
Davis. The score by Franz Waxman is powerful and dramatic, elevating the suspense.
Edith Head, a designer fave of Stanwyck’s, heightens the storytelling with
Barbara’s gowns depicting youth and wealth in the flashback scenes, and her
expensive but fussy-looking dressing gown as the bedridden matron.
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| Barbara Stanwyck as the younger Leona, dressed in soft ermine, against a childhood portrait of herself, in 1948's "Sorry, Wrong Number." |
The main set, with
Leona’s whining following all the way down the winding stairs, past the servants’
rooms, to the foyer, and the kitchen, all depicting an expensive lifestyle, but
no signs of life.
In the finale, in true
noir style, the married couple let their guard down during the final phone
call. But it’s too late, the plan is put into action, and the chilling final
line is the title of this movie!
Here’s
my look at the more charming side of Barbara Stanwyck, in 1945’s holiday
favorite, Christmas in Connecticut: https://ricksrealreel.blogspot.com/2017/12/christmas-in-connecticut-1945.html
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| Interesting moment in 1948's "Sorry, Wrong Number," when Barbara Stanwyck's spoiled rich woman catches herself in a rare moment of seeing her actual self. |
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