NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Shout! Factory Blu-ray (March 2023): Whether you like the 1080P image quality or not - the Shout! Factory is far closer to how the film should look - by that we mean 'film like' or more akin to its theatrical roots. The thickness, 1.37:1 aspect ratio (the Imprint is 1.33:1 and has some slight stretching issues), heavy grain and lack of compression artifacts signifies that our suspicions on the Imprint were, indeed, correct. The Shout! Factory is darker (as it was shot), generally showing more information in the frame and has different (and, briefly prominent) vertical scratches and marks that identity it as being a different source than the glossy Australian counterpart.  

NOTE: We have added 58 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-ray, Shout! use a DTS-HD Master dual-mono track (but 24-bit as opposed to 16-bit) in the original English language. I wouldn't say the audio is perfect - it sounds weak at times with certain dialogue being unnaturally hollow. I still give the edge to the US transfer. The score is by Franz Waxman (Untamed, Rebecca, Dark Passage, Bride of Frankenstein, Rear Window, Sunset Boulevard) with some classical; Franz Schubert, Felix Mendelssohn, Richard Wagner. Shout! also offer optional English (SDH) subtitles but their Blu-ray is Region 'A'-locked.

Supplements duplicate the Imprint with one new addition. We still get the wonderful Alan K. Rode commentary, Eddie Muller intro, 1950 Lux Radio audio radio play with Stanwyck and Lancaster and a 1/2 hour 2009 “Sorry Wrong Number” radio play filmed performance, plus the 1/2 hour Hold The Phone: The Making Of “Sorry Wrong Number", trailer and a gallery of stills. What is new is a commentary by Film and Pop Culture Podcasters Sam Hurley And Emily Higgins. I rarely criticize a commentary -- understanding the work that goes into it... but I didn't like this one. I suggest re-listening to Rode as he exports so much information.

So there you have it. We love having choices and some, less-concerned with the best representation, may still lean to the Imprint - that we did not endorse 3 years ago. We recommend the Shout! Factory Blu-ray with its more authentic image... and warts (scratches, minor audio inconsistencies) - and the matched extras with a new addition, even if we don't advocate - and the extensive supplements with the Rode commentary. Oscar nominated for the role, Barbara Stanwyck plays Leona Stevenson - an the invalid who intercepts a murder plot on the phone - from Lucille Fletcher's play that was reprised seven different times. Orson Welles called Sorry, Wrong Number "the greatest single radio script ever written". Clips were used in Dead Men Don't Wear Plaid. There are plenty of shadows, flashbacks and a twist finale to delight Noir aficionados. Imperfect but absolutely we recommend the Shout! Factory Blu-ray.     

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ADDITION: Imprint Blu-ray (June 2020): Newcomer 'Imprint' out of Australia (the disc starts with a ViaVision logo) have transferred Anatole Litvak's 1948 Sorry, Wrong Number to Blu-ray. Initial reports were that the transfer had DNR (Digital Noise Removal.) Looking closely, you can see that the grain is not smeared away leaving a waxy, un-textured look, but instead is very clunky, uneven and visible by its lack of consistency. This looks to me like an SD bump, either that or a low-grade print. Regardless, whether it is any of the above - the image is marred by these artifacts (see samples below.) Now, I am not defending this image quality but depending on how forgiving your system is - you may not see it to the same degree. It was occasionally noticeable on my system but other may not find it unwatchable. I imagine if this Blu-ray was projected - the digitization would be far more prevalent in the viewing experience. Better than SD? - I think so, but again it would depend on your system and how discerning your eyes are. Bottom line is that stringent home theater aficionados won't be pleased.  

NOTE: We have added 66 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-ray, Imprint use a linear PCM dual-mono track (16-bit) in the original English language. It is another advancement in the film's audio in telephone-related effects and the score by Franz Waxman (Untamed, Rebecca, Dark Passage, Bride of Frankenstein, Rear Window, Sunset Boulevard) that also has come classical music incorporated; Franz Schubert, Felix Mendelssohn, Richard Wagner - all sounding deeper exporting a more dramatic tone. Imprint offer optional English (SDH) subtitles on their Region FREE Blu-ray.

The Imprint Blu-ray includes a new audio commentary by noir expert and Film Noir Foundation board member Alan K. Rode who provides some in-depth information into the production and many facets of the original play and story by Lucille Fletcher. It is at his usual high standard and I am glad I indulged. We get a previously unseen 2.5 minute introduction by the 'Czar of Noir' himself, Eddie Muller. I enjoyed the hour-long 1950 Lux Radio “Sorry Wrong Number” Play with Stanwyck and Lancaster and a 1/2 hour 2009 “Sorry Wrong Number” radio play filmed performance - it was kinda cool! Hold The Phone: The Making Of “Sorry Wrong Number" runs over 31-minutes and its also previously unseen on disc (the original DVD had only a trailer.) This Blu-ray includes both a theatrical trailer and photo gallery. The package with the slipcase is limited to the first 1500 copies.

Classic Noir still not given rightful justice on digital. Dammit. I have always suspected the elements to be compromised but hopefully one day we will be able to compare this to a new 1080P transfer worthy of the film. As for now we can't endorse the Imprint Blu-ray, especially the offered price, excepting to those ultra-devout 'Dark Cinema' completists that crave the flawed image in higher resolution, the excellent commentary and other, previously unavailable, extras. I'm keeping mine but I am disappointed in the video. 

Gary Tooze