Cary Grant, Eva Marie Saint, James Mason, Leo G. Carroll, and Martin Landau
Flawless example of Hitchcock’s ability to entertain. Grant is spirited away by thugs who think he’s a secret agent. This starts a cross-country adventure that includes the classic crop dusting scene and a breathless battle atop Mount Rushmore. Saint is a superb femme fatale. Bernard Herrmann contributes another perfect musical score.
A scene in which a body is discovered in a car on an automobile assembly line was originally wanted by Hitchcock, but he could not come up with a way to make it work with the story.
* Part of the Alfred Hitchcock Classics DVD Box Set
Extra Features on DVD:
- The Man on Lincoln’s Nose: The Making of North by Northwest, a behind-the-scenes documentary
- Feature-length commentary by screenwriter Ernest Lehman
- Television commercial from the film’s original theatrical release
- Production stills gallery, production notes and filmography of principal talent
- A music only track in Dolby stereo of Bernard Herrmann’s classic score
(Amazon.com) A strong candidate for the most sheerly entertaining and enjoyable movie ever made by a Hollywood studio (with Citizen Kane, Only Angels Have Wings and Trouble in Paradise running neck and neck). Positioned between the much heavier and more profoundly disturbing Vertigo (1958) and the stark horror of Psycho (1960), North by Northwest (1959) is Alfred Hitchcock at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances. Which is not to say that this is just “Hitchcock Lite”; seminal Hitchcock critic Robin Wood (in his book Hitchcock’s Films Revisited) makes an airtight case for this glossy MGM production as one of The Master’s “unbroken series of masterpieces from Vertigo to Marnie.” It’s a classic Hitchcock Wrong Man scenario: Grant is Roger O. Thornhill (initials ROT), an advertising executive who is mistaken by enemy spies for a U.S. undercover agent named George Kaplan. Convinced these sinister fellows (James Mason as the boss, and Martin Landau as his henchman) are trying to kill him, Roger flees and meets a sexy Stranger on a Train (Eva Marie Saint), with whom he engages in one of the longest, most convolutedly choreographed kisses in screen history. And, of course, there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield (where a pedestrian has no place to hide), and the cliffhanger finale atop the stone faces of Mount Rushmore. Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score. What more could a moviegoer possibly desire? –Jim Emerson