Anatole Litvak

of peaceful happiness (Litvak, Sorry Wrong Number). Leona’s mindset that she could have whatever she wanted allowed her to pursue Henry like a trophy to be won. Clearly, Leona was meant to come off as cocky to make the audience fall in love with her. Later, the (wrongfully) Mrs. Stevenson shows her expectancy of getting exactly what she wants, when she wants it, with no room for compromise. When Henry decided that he was tired of working for his wife’s father and wanted to interview for another job, Leona threw a fit and induced a heart attack (Litvak, Sorry Wrong Number). The director’s decision to show the protagonist (who truly acts like a villain) as a pampered lady who goes into cardiac arrest every time the wind blows the wrong way gave the audience a much better understanding of just how bratty she was in a way that was never conveyed in the script. Who doesn’t love a whiny child who throws temper tantrums because they can’t get a new toy? The least Leona can do is listen to Henry’s opinions, right? Wrong. After a few years of marriage, Henry thought that it might be a good idea to move out from under Mr. Cotterell’s roof. He takes her to a spacious apartment where she flat out refuses committing any money and treats Henry like dirt. Leona wouldn’t even hear him out, and when he began to argue with her, (you’ll never guess) she fell ill again. As any sane person would, Henry dropped the argument and put his effort towards caring for his wife (Litvak, Sorry Wrong…

invention with a real element of the world. Munro uses reality in a way that “put in something true and then go[es] on and tell[s] lies”, which is her goal in her writing and a method she uses to enclose the soul of her story. As a result, readers interest and bewilder those unreal elements, which make them feel more real and depressing. There is a very interesting phenomenon shows up: the unreal stories make us feel more real, because the unreal stories also base on the real story, and then the…