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I like the storyline of this show,it attract me so much

Don't listen to the negative reviews

Although it has its amusing moments, in eneral the plot does not convince.

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Complicated (multiple flashbacks within flashbacks) but highly engrossing, Sorry Wrong Number still packs a wallop - even with today's more blasé and less tolerant audiences. Litvak's driving direction with its remarkably mobile camera moodily prowling through appropriately lavish sets and strikingly noirish natural locations, superbly abets Lucille Fletcher's grippingly bizarre screenplay. Litvak isn't afraid to use close-ups either. And his players not only stand up to this relentless probing but offer some of the greatest performances of their lives. Both Stanwyck and Lancaster make formidable principals. Outstanding character study contributors include Shirley Ann Richards, Wendell Corey, Harold Vermilyea and the ever-reliable Ed Begley. Note Joyce Compton as the blonde who briefly interrupts Begley's all-alone-in-the-big-house phone chat; and director Anatole Litvak as a diner in dark glasses - As an inside joke, Lancaster testily turns to waiter Vuolo and pointedly asks: "Who is that man?").

A powerful, earth shattering performance by the legendary Barbara Stanwyck turns a totally convoluted thriller into one of the most magnificent film noir ever made. Simply riveting thanks to the frantic desperation of her character Leona Stevenson who is left alone in her Sutton Place home with her husband Burt Lancaster missing. Unable to easily get around, the demanding Leona frantically tries to find her husband and alert the police to the shocking call she overheard involving the pending murder of a woman whose identity she is unable to find out. Through clues and flashbacks to her past, she picks up details that ultimately reveal who the victim is, finding out why, when and where, leading to a shocking conclusion. Through these flashbacks, we learn how Stanwyck and Lancaster met, what lead to her illness, and certain aspects of her personality that aren't very pretty. What leads to the desperate situation resulting in the pending murder is as intriguing as the sinister actions of her Phyllis Diedrickon character from "Double Indemnity". Stanwyck is absolutely commanding, ironically playing a very demanding woman who won't rest until she gets what she wants, no matter who gets run over in the process.As her powerful but clinging father, Ed Begley is excellent, while Ann Richards, as Lancaster's old flame, makes the most out of a role rumored to have been greatly chopped. Wendell Corey, an ineffective actor in romantic hero parts, has a small role, and later was the leading man in two Stanwyck films. Leif Erickson and William Conrad have other showy smaller roles. As for Burt Lancaster, it's another example of Stanwyck mentoring a newcomer, and he turns a basically unsympathetic character into somebody who you might feel sorry for even through he's in a drastic situation with no way out. I just wish that these two, both at the top of my favorite actors list, had the opportunity to work together again.The film sags a bit in convoluted flashbacks as Richards explains what she knows, but that's forgotten when the action returns to Stanwyck. Yet there is something a lot more intriguing behind the messy situation. That fantastic upper east side apartment becomes like a character as what becomes Leona's sanctuary quickly becomes her prison. As the horror on her face increases, she starts to show the vulnerability that had disappeared from her personality years earlier. The horrifying conclusion brings me to another: never remake this in any manner, especially if the leading character is one of those twit wits obsessed with their cell phone.

"Sorry, Wrong Number" follows a bedridden housewife (Barbara Stanwyck) who stumbles onto a phone call between two men detailing a murder plot. The narrative then delves into flashbacks detailing personal histories in order to unravel the truth.Adapted from the brilliant radio play, "Sorry, Wrong Number" is a classic thriller that has been oft- lauded by critics and audiences alike over the years. Stanwyck is the bittersweet anchor of the film, playing the neurotic and arguably vapid protagonist locked away in her Manhattan apartment. Supporting parts by Burt Lancaster as Stanwyck's missing husband, and Ann Richards as his would-have-been wife are both brilliant. Leif Erickson plays Richards' husband, with Ed Begley as Stanwyck's plutocrat father. The narrative is unraveled through flashback throughout the first half of the film, punctuated by effective voiceovers, before shifting to a profoundly dark and atmospheric final act that has Stanwyck isolated in her apartment. The conclusion is daring and unexpectedly grim, and Stanwyck dominates the screen for the entirety of the buildup. For a forties thriller, it is surprisingly hard-edged.Overall, "Sorry, Wrong Number" is a well-acted, well-shot, and remarkably grim film. Absorbing performances throughout combined with a twisting narrative that culminates in a tense and brusque conclusion make this an indisputable genre classic. 9/10.

Heck of a thriller, though the narrative is difficult to piece together at times. Stanwyck gets to run through a gamut of hysterical emotions as the intended victim. Her Leona is not particularly likable as the rich man's daughter who gets her way by bullying people around her. So there's some rough justice in her predicament—alone, disabled and dependent on the phone while a killer seemingly stalks her. Even the independent working-man, a studly Henry (Lancaster), is bullied into taking up with her. Of course, it doesn't hurt that she's got scads of money to assist her schemes. Incidentally, catch how Henry's several capitulations to others (Leona, Morano) are marked by allowing them to light his cigarette. Nice touch.The idea of only gradually revealing why Leona is being set up for murder is a good one. It adds to the suspense—not just a 'when' but also a 'why'. The trouble is the disclosure is only revealed in pieces over the phone using flashbacks, and these are hard to piece together over a stretch of time. But enough comes through that we get the idea. There's some great noir photography from Sol Polito that really adds to the tense atmosphere. Anyhow, it's a great premise that also played well over the radio that I recall as a kid. It's also a subtle irony that one could end up being so alone in the middle of a great city. Poor Leona, maybe if she had been a little nicer and less bossy over the phone, she might have made the human connection she needed.