At the age of 5, Hitch's father called the police to teach him a lesson after he misbehaved. The policeman took his job rather seriously and locked young Hitch for a few minutes in a cell. This left quite an impression on Hitchcock and may explain the love/hate relationships he had with the police, evident in his films.
Hitch dealt with the theme of wrongly-accused person fighting for his innocence in Young and Innocent (1937). Here, in The Wrong Man (1956), he returns and expand on the theme. It is about a man is tried for crimes committed by a look-alike robber. This is a far better movie, with the legendry Henry Fonda who was, as ever, superb.
The Wrong Man is a serious film. You will notice that from the first moment, as Hitch presents the film in his own particular way. He stands in the dark, we don't see his face, only hear him saying that this is a true story, based on real facts that are hard to imagine, but yet true. From then on, the focus is on Fonda who carries the majority of the film on his shoulders. Hitch even avoided his usual cameo appearances as he did not wish us to distract even for a minute from the misfortunes of the wrongly-accused man.
Henry Fonda, one of Hollywood all-time greatest actors, plays musician Manny Balestrero, a man who leads a quiet life with his wife and two boys, when one day he is believed to be a serial armed robber. Manny is arrested and charged with the crimes. He is identified by several witnesses, and his life break apart. Fonda is quiet, contained, submissive, in a place where he does not belong, playing in accordance to rules he does not understand. When he is able to somehow collect himself, his wife Rose (Vera Miles), so terribly distraught by the ordeal, losses her sanity.