A couple off for a romantic weekend in the mountains are accosted by a biker gang. Alone in the mountains, Brea and John must defend themselves against the gang, who will stop at nothing to protect their secrets.
As Carl Black gets the opportunity to move his family out of Chicago in hope of a better life, their arrival in Beverly Hills is timed with that city's annual purge, where all crime is legal for twelve hours.
Ed Lover and Doctor Dre are two inept barbers. Deciding that maybe they ought to find another line of work, they join the police. A big mistake, as far as their duty sergeant, Sgt Cooper is... See full summary »
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
In a TCM interview, according to screenwriter Ernest Lehman (who worked in close collaboration with Alfred Hitchcock), the working title was "In A Northwesterly Direction." The head of the Story Department at MGM said, "Why don't you call it 'North by Northwest'?" Lehman says that he and Hitch adopted that as the new working title, always assuming that they'd come up with something better. Hitchcock also jokingly wanted to call it "The Man in Lincoln's Nose", but claimed the idea was vetoed by the Park Commissioner. Other working titles included "Breathless", "In a North West Direction" and "The CIA Story". See more »
Following the crop dust scene, Roger goes to Eve's hotel room. She makes drinks for them. His is "scotch, water, no ice." She makes 2 drinks, putting ice in hers - which is on her right. When she finishes, she picks the one with the ice (hers) up with her right hand, and Roger's with her left. She then turns and walks toward Roger. She hands him his drink with her right hand. Hers, with the ice, is in her left hand. See more »
If I thought there was any chance of changing your mind, I'd talk about Miss Kendall, of whom you so obviously disapprove.
Yes, for using sex like some people use a flyswatter.
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Right after his credit as director during the opening credits, Alfred Hitchcock is running toward the door of the city bus just as it slams shut on him! 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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