Madison Avenue advertising man Roger Thornhill finds himself thrust into the world of spies when he is mistaken for a man by the name of George Kaplan. Foreign spy Philip Vandamm and his henchman Leonard try to eliminate him but when Thornhill tries to make sense of the case, he is framed for murder. Now on the run from the police, he manages to board the 20th Century Limited bound for Chicago where he meets a beautiful blond, Eve Kendall, who helps him to evade the authorities. His world is turned upside down yet again when he learns that Eve isn't the innocent bystander he thought she was. Not all is as it seems however, leading to a dramatic rescue and escape at the top of Mt. Rushmore. Written by
Early on in the film, during the nighttime drunk driving sequence, the process photography backgrounds for the shots of Cary Grant filmed full-face while driving should be showing scenery (the twists of the road, trees, etc.) receding into darkness. Instead, the receding backgrounds have been filmed as if illuminated by a high-candlepower white spotlight, which lights up the receding scenery, even the tops of receding trees, before they vanish into darkness. The path of the spotlight cannot be accounted for by the headlights of cars in the opposing lane of traffic, since the light is angled upward too far, and is visible even when no opposing cars pass Grant's car. The only light behind Grant's car at night should be the dim red light thrown by the car's tail-lights. See more »
Who are you?
Mere errand boys carrying concealed weapons. His is pointed at your heart, so, please, no errors of judgment, I beg of you.
What is this? A joke or something?
Yes, a joke. We'll laugh in the car.
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The Leo the Lion/MGM trademark preceding the credits is on a green field, to match the green field used in the credits proper. See more »
Top-notch suspense /adventure film still looks great after 40 years!
For Christmas this year, I received my first to-own DVD: Hitchcock's classic, NORTH BY NORTHWEST. After over 40 years, this rip-racing adventure-thriller still packs a punch and looks great on widescreen. This movie came along during a renaissance period for the Old Master, between masterpieces like VERTIGO and PSYCHO, but this excursion into the world of suspense is so different from anything else Hitchcock had created up to that point. Never did he challenge our endurance to keep still in our seats for such a long period of time, and yet the film's 135 minutes go by so fast it could only be explained by movie magic itself.
Cary Grant is one of those actors that a filmgoer either falls in love with or deeply envies. His debonair manner is displayed to the full in this film, even though the peril that his character goes through would cause any normal dude to break into a maddening sweat. The dialogue Roger Thornhill delivers alongside Eve Kendall (Eva Marie Saint) in this film is sometimes too hilarious to be true, but wouldn't any woman fall for it? (I'm merely guessing here) Ernest Lehman's screenplay is so lighthearted and yet very ominous. With all the traps and pitfalls Grant goes through in this film, you would have to find comedy in it. Grant does and to great appeal. I absolutely love the sequence at the auction when Roger tries to get himself arrested by yelling out flaky bids and accusing the auctioneer of selling junk worth no more than $8. I also admire the scenes with Saint on the train to Chicago; I was tempted to jot down some of his pick-up lines, but then I realized it's just a movie (or is it?)
Hitchcock was famous throughout his career of setting up death-defying sequences with major landmarks as backdrops. Here, Mount Rushmore will never be looked at the same again afterwards. We may never enter the United Nations again without peering behind our backs for a notorious knife-thrower. And, I dare say, I will never walk alongside a highway where a cropduster could swoop at any minute. I love the line during the Rushmore incident when Grant says his two ex-wives left him because he lived too dull a life. Go figure!
It has been said that Hitchcock's many films each contain a personal side of the director inside them. The archetypes of the Master of Suspense are here amid the chasing and running across the U.S. The mysterious blonde, played to a tee by Eva Marie Saint, is a common fixture of many Hitchcock jaunts. Saint joins Grace Kelly and Tippi Hedren in this feature. The protagonist is again awkward when faced with the opposite sex, but unusually casual when wrapped up in danger. The hero has an attachment to his mother, continually under his nurturing wing. And of course, the macguffin has fun with us again (government secrets my foot!)
Whenever I see action-packed epics today like "The Fugitive" or the James Bond series, they all seem to quiver in comparison to this film. It amazes me that Hitchcock is able to hold the audience in the palm of his hand throughout the whole length of the journey. We become Grant as he runs away from the police and the secret agents who have chosen him as their dupe. But throughout the squabble, we sense that Grant is getting off on the whole jaunt, just as we want the chase to continue, not looking at our watches for a minute. However, it's fascinating to note that Roger Thornhill is not a born adventurer, nor is he an archeologist with a flair for escaping impossible situations. We are experiencing the Cary Grant in all of us, running away from an enemy we do not know they are or what they want. Is this symbolism of some kind? I say who cares; just watch the film and have fun!
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