SORRY WRONG NUMBER

US, 1989, 90 minutes, Colour.
Loni Anderson, Hal Holbrook, Patrick Macnee.
Directed by Tony Wharmby.

Sorry Wrong Number is a late 80s telemovie re-make of the original film of 1949 starring Barbara Stanwyck and Burt Lancaster, directed by Anatole Litvak.

This screenplay has updated the story to the 80s and is directed by British director, Tony Wharmby. It is designed as a star vehicle for Lonnie Anderson as the bedridden wife who overhears a phone call talking about the planning of a murder. The film keeps generally to Lucille Fletcher’s original radio play and its adaptation for the screen.

Lonnie Anderson is Madeline, the rich wife, who overhears the phone call. A hypochondriac, she is bed ridden and spends of New Years eve telephoning the police to try to warn the victim. However, of course, the victim is herself. The film focuses on her father, a wealthy magnate, played by Hal Holbrook. Her husband, who married her for her money, is, this time, involved in drug deals. Drug dealers put the pressure on him, demanding money, threatening to kill his wife. Patrick Macnee also appears as a doctor, involved in the drug dealing who realises the truth.

While the film focuses on Lonnie Anderson in her palatial apartment, on the phone, desperately ringing, the film also goes back into the past, establishing her marriage as well as showing what was happening in the background and the police trying to make decisions. The film ends, uncharacteristically for popular telemovies, with a grim ending as the husband, still on the phone, hears the murderer coming and his killing of the wife.

Lucille Fletcher’s original radio play was always a successful tour de force for the leading actress and a piece suspense for the audience. With its 80s setting and affluence, this is a glossy presentation of Sorry Wrong Number.


1. Thriller? Famous radio play? Expanded for television?

2. Loni Anderson in the classic Barbara Stanwyck role? Strong performance?

3. The film based on a play, the contrivance of situations, the focus on the phone calls, the flashbacks, the flashbacks within flashbacks?

4. The downbeat effect of the film, the sombre ending?

5. Madeleine: spoilt, bedridden, relying on the phone, domineering on the phone, her overhearing the plan, the phone call and discovering her friend Sally, her memories of meeting Charlie, taking him away from Sally, her callous attitudes? Her relationship with her father, his dominance? Charlie and his job, marrying her? Disregard of Sally? The plot about the money, the phone call and explanation of the plot? Her phone call to the doctor, his care, the story of Charlie’s visit? his phone call, his warning? Her being paralysed, knowing the truth? Her death? A wilful character?

6. Her father, his power and wealth, spoiling his daughter, dominating her, dominating Charlie?

7. Charlie, young, his friendship with Sally, marrying Madeleine, the job, his anger and frustration, entering into the plan with Evans, stealing the money? Criminals and their demand? His knowledge of his wife, the visit to the doctor? Sally and her visit? His phone call, the warning - and his failure to get Madeleine to move?

8. The doctor, his concern, his treatment of Madeleine?

9. Sally, the past, her love for Charlie, the marriage, the visit to Henry, following her husband, the discovery of the plot, the phone calls to Madeleine - the contrived character, her accent, the credibility of her actions?

10. Fred, his concern about Henry, the police and their plan, the raid?

11. The criminals, their plans, the pressure on Charlie? Charlie and his pressure, the end of the plot?

12. The bleak and black mood of the film despite the 80s gloss?