From the outset of The Wrong Man, it’s evident that this is a very different kind of Hitchcock film. Which turns out to be both good and bad. For one thing, Hitch’s beloved cameo appearance is absent for the first and only time in his oeuvre. Instead, he sets the stage by walking toward the camera as a brightly backlit silhouette in a dark alley, informing us that unlike any of his other pictures, this one is a true story. Whereupon the ensuing explanatory note tells us that this tale is “stranger than the strangest fiction.” In this stark docudrama, in other words, Hitch’s characteristic flair for the melodramatic and suspenseful take a back seat to realism. The result is a film that becomes a bit clinical at times, dragging from event to event along a timeline as the wheels of justice churn ahead slowly. Nevertheless, as audiences had come to expect from Hitchcock, The Wrong Man exhibits a trenchant eye for details of both the visual and the verbal kind.