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Purchase North by Northwest (1959) Movie Online and Download - Alfred Hitchcock 🎥
Drama, Thriller, Action, Adventure, Mystery, Romance
IMDB rating:
Alfred Hitchcock
Cary Grant as Roger O. Thornhill
Eva Marie Saint as Eve Kendall
James Mason as Phillip Vandamm
Jessie Royce Landis as Clara Thornhill
Leo G. Carroll as The Professor
Josephine Hutchinson as Mrs. Townsend
Philip Ober as Lester Townsend
Martin Landau as Leonard
Adam Williams as Valerian
Edward Platt as Victor Larrabee
Les Tremayne as Auctioneer
Philip Coolidge as Dr. Cross
Patrick McVey as Sergeant Flamm - Chicago Policeman
Storyline: 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.
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Leave your brain home
(SPOILERS- if you've been living it in a cave)

OK, now explain this to me. Eva Marie Saint tells Cary Grant to go out to this 'middle of nowhere' spot to meet the actually non-existent agent he is after who will explain everything that has been happening to him. He's let off in the middle of this endless road and waits. Nothing happens. Then he notices a crop-dusting plane buzzing away in the distance. A guy drives up, stops for a moment for a smoke and then observes that there are no crops to dust. Then he leaves and Cary, having nothing else to contemplate, keeps looking at the plane. It then starts flying toward him and he slowly realizes it is going to try to clip him with its wings. He dives to the ground to avoid it. Then the same thing happens. Then the plane suddenly starts shooting machine gun bullets at him. He runs to a cornfield, (there are crops!) where the plane tries to fertilize him to death. Then he sees a tank truck coming down the road and tries to flag the driver down who decides to run over him instead. Then the plane flies into the tank truck and they both explode while Grant manages to escape.

Questions: 1) Why does Eva send Cary there? She's working for Leo Carroll, so she must know the agent Cary is chasing doesn't exist. Is it just to protect her cover?

2) Would the bad guys really have come up with such a ridiculous method of dispensing with the hero?

3) How is the death supposed to be an 'accident', as they presumably want people to think, especially if machine gun bullets are used?

4) If the pilot has a machine gun, why doesn't he use it from the beginning?

5) Why does the pilot fly his plane into the tank truck? Was this so impossible to avoid?

The film is a lot of fun. But leave your brain home.
Sexy Hitchcock thriller (spoilers throughout)
There are no two ways about it, North by Northwest is a sexy film. Just take the exchanges on the train or the film's final image or even the homoerotic banter between James Mason and Martin Landau. The whole film reeks of sex.

It's quite fun watching the film back and noticing all the subtle, and not too subtle, allusions to horizontal activity. The most explicit is the conversation between Cary Grant and Eva Marie Saint. The flirty banter is superb, as is the scene that follows it. For all intents and purposes it's a sex scene, but because Hitchcock wasn't able to get away with that at that time he had to be creative, and as a result the scene is perhaps even sexier. But perhaps flying slightly under the radar is the relationship between James Mason and Martin Landau. Sure, years later, plenty of film academics have pointed out the homoeroticism that is present, but it's fun to ponder whether the original audiences picked up on it. I mean, just listen to some of the dialogue: 'call it my woman's intuition if you will.' 'Why Leonard, I do believe you're jealous! I'm actually very flattered!' And then there's the fight they have. It's like a sex scene. There are two close ups, the money shot and then one slumps down into an armchair and the other stands there, grimacing in pain and relief. But if you want to analyse it in even more depth, there's the fact that the argument starts with a gun. Only its Eve's gun and it fires blanks. The emptiness of heterosexuality, perhaps? Probably not, but like I said, it's fun to theorise. Oh, and while I'm on this train of thought, James Mason says 'Gay surroundings' with a distinct emphasis. I wonder if he's trying to tell us something?

There's also a Freudian kink to the relationship between Thornhill and his mother. She looks the same age as him and they act like a married couple. In fact, at the start of the film, is seems as if Roger can't do anything without her. She's the one he phones when he gets arrested and she's the one that he takes on his early adventures. She's only ditched when he comes across a better prospect - Eve Kendall.

But that reminds me of one of my favourite scenes. I love Cary Grant's drunk performance in the police station. It's bloody hilarious. I love the drunken conversation with his mother ('No, they didn't give me a chaser') and the drunken conversation with the doctor ('How much did you drink?' 'This much,' Grant replies with his arms stretched wide apart). Grant's comic acting is impeccable.

Another favourite comic scene is the auction scene. Again Grant's acting is magnificent. The way that he antagonises the auctioneer is superb and the fight is hilarious. And I also love the scene where Thornhill returns to the house. No one can do dignified bemusement quite like Cary Grant.

Less convincing, however, in my opinion, is James Mason. He's certainly got the urbane charm that the character of Vandamm demands but I just don't find him threatening enough. In many ways he's quite a forgettable Hitchcock villain. The only thing that makes him memorable to me is his relationship with Martin Landau.

I also find the final action scene a bit disappointing. I don't think that it quite has enough energy. Plus Mason seems nonplussed at having been caught. Yes that's his character – always cool and in control – but it does deny the audience the satisfaction of his capture. However, the film redeems itself with its final image. I can imagine Hitchcock chuckling to himself having got away with it.

But while I'm coming up with criticisms, I also have to say that the film is a little light. Certainly it's a very amusing film with some terrific dialogue, but it doesn't live as long in the memory as, say, Vertigo, Psycho, Rear Window or even The Birds. And the story, when you sit down and think about it, is completely forgettable. You remember the great scenes and the great moments, but only lip service is paid to the Cold War and the business about the microfilm. It's entirely superfluous.

However, it's easy to ignore the more forgettable elements when there is so much worth remembering. Just take the crop dusting scene, the UN murder, every moment on the train, the terrific musical score and the fantastic dialogue. It's not quite a feast but it's a damn good snack.
Classic thriller - I love it!
Roger Thornhill is an advertising man. However when he is kidnapped it is clear that he has been mistaken for someone else. When he tries to find out what's going he is framed for murder and sets out on a cross country run to survive. Along the way he meets danger, adventure and beauty in the shape of the mysterious Eve Kendall. However when he finds the truth he is drawn towards a final showdown with the dangerous Vandamm.

Rightly regarded as a classic and can more than compete with today's thrillers that too often rely on special effects to make up for the lack of genuine suspense. Here the plot requires a great deal of faith, but it is brought off with such style and energy that it is totally absorbing. The action is great and the several main scenes have become part of popular culture and are regularly spoofed on TV etc. The romance works as well and Thornhill and Kendall exchange plenty of good scenes.

The dialogue is great and the direction is faultless from Hitchcock. Many thrillers run over 2 hours - but only the good ones can stand up to repeated viewings. Northwest can take back to back viewings it is so good. The plot may have been put together as shooting went (as was the case with at least

one key scene) but it all stands together well. The acting is also perfect, Grant's rebirth as a thriller man is brilliant and is one of Hitchcock's best everyman characters. Marie-Saint is yet another dangerous blonde but is very good. James `The Voice' Mason is excellent, while Landau adds great homosexual subtext to his character. The ever present Leo G Carroll IS Mr Waverly but is still enjoyable and even support roles like Landis as Thornhill's mother is perfection!

Over 40 years on this film has barely dated. Hearing the music is enough to make me want to see it again, while the direction, set pieces, dialogue and performances are all pitch perfect. A wonderful thriller for young and old - no sex, no swearing, all thrills.
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!
A deliriously entertaining masterwork
Alfred Hitchcock was a certified genius of a filmmaker. He could scare you, shock you, surprise you, enthrall you, make you think, make you smile, make you laugh, and all the while making you a part and parcel of the storytelling and action in his film. His goal was always to make the audience a part of the action and take them along for the ride. He may do this to absolute perfection in this film, NORTH BY NORTHWEST, my absolute favorite film of his. It's debatable whether or not this is his greatest film. A lot of so-called film 'critics' will swear by VERTIGO(although I'm not crazy about it), some say PSYCHO, others say NOTORIOUS, some prefer SHADOW OF A DOUBT, others REBECCA. Who knows? I just know that NORTHW BY NORTHWEST, without a doubt, is the most thoroughly enjoyable, fun, fascinating, entertaining, and eye-popping film that Hitchcock ever did. I love every frame of it. The first 30 minutes alone is more captivating, exciting and entertaining than 99.9% of the crap they throw at us nowadays in the movies.

Cary Grant is Roger Thornhill, a normal, run-of-the-mill advertising agency executive. Grant deserves all praise of being the legend that he truly was for what he does in this film. Grant's Roger Thornhill is one of 'us', a fairly regular everyday Joe who gets thrust in the most convoluted of situations: mistaken for a government agent named 'Kaplan' by treacherous U.S. enemies (led by the classy James Mason), Thornhill is whisked off captive one evening and his life is threatened and he is almost killed, but he thankfully escapes his captors and so the fun begins in finding out who these bad guys are and why they think he is Kaplan.

The film has a kind of snowball effect. Each situation that Thornhill is thrown into or gets himself into is more dangerous than the previous one and he has to find some way to get himself out of it. Hitchcock almost seems to relish scaring the Bejesus out of this guy just to see how he will slick or cajole his way out of it. Thornhill is really an unwitting and unexpected pawn in the battle between U.S. agents and the enemy traitors.

All the qualities that made Cary Grant a star shine through in this film: he is handsome, classy, witty, funny, sarcastic, and surprisingly agile. Whoever thought he could pull off being an action hero after all those years of playing primarily romantic comedies? But he totally gives a convincing performance in this film.

Of course at some point we are introduced to the femme fatale, in this case Eva Marie Saint, who is super-sexy and mysterious in this role. Saint's character makes you realize why so many women found Cary Grant so charming and irresistible.

The film has some of the most memorable sequences and set pieces ever in history: the United Nations murder, the Mount Rushmore finale, and most of all, that magnificent crop-dusting sequence smack dab in the middle of the film that forever captured the hearts, minds, and imaginations of moviegoers everywhere. The scene is all at once action-packed, scary, dangerous, exciting, and funny.

For me, this Hitchcock film (first shown in 1959) can be seen as a very early example of a blockbuster summer action movie. It has all the elements: a colorful look and feel, lots of outdoor scenery, nonstop action, a breathtaking pace, and a central character through which the story is told and that we could all identify with and root for.

Truly a great achievement by both Alfred Hitchcock and Cary Grant, with big-time assists from a great cast of supporting actors and actresses, a witty script, and the beautiful scenery of various U.S. locations.
"Subplot" Cary Grant versus James Mason; also "Slighting Chicago"!
Read reviews above for the exceptionally witty commentary this film attracts.

I add one sub plot and one slight to Chicago...

Subplot: Cary Grant, the good actor versus the less popular but greater actor, James Mason.

Read the list of Vandamm quotes to see how many times Mason's character digs at Grant's...acting! Only one instance listed below:

Phillip Vandamm: Has anyone ever told you that you overplay your various roles rather severely, Mr. Kaplan?

(hear Mason as Vandamm comment on Grant's "acting school"


See Mason and Grant--observe their similar wardrobe and physical resemblance in their Mt. Rushmore restaurant...

Mason played Shakespeare well-- see his Brutus in Mankewicz's great 1952 Julius Caesar. Yet he sometimes got roles Grant had rejected...the most famous being Norman Maine in the great "A Star is Born".

I bet Hitch sensed this and encouraged Lehmann to hype up the actor rivalry in N by NW script.

This real life "competition" only enhances the on screen N by NW movie.

And the "Slight to Chicago"? Here, the greatest movie crime N by NW commits! Chicago offers so many sinister possibilities and great visuals in its skyscrapers and shore line, etc, etc. But no! Only a quick train shot of Chicago in the daylight...all the stellar skyline is shot in the dark! (Took the Blues Bros and later The Untouchables to "discover' Chicago's many layers... of film possibilities.)

Still---a great movie! A study in stylish dialogue, too!
Great script and Hitchcock's genius direction makes this film interesting even today
Today, when technology is getting advanced by every new day, movie scenes like the one on Mount Rushmore in "North by Northwest" looks very funny, but I must admit that this movie is great even from todays perception. One of Alfred Hitchcock's best movies has his favorite actor Cary Grant in it, blonde girl Eva Marie Saint and excellent actors like James Mason & Martin Landau. So to say long story short; I enjoyed in this movie and I'm 'only' 19 years old (this movie was made almost 50 years ago!!!). Why? Because of great scenes coming from genius Alfred Hitchcock, brilliant script that makes this movie a great thriller, with twists, good performances and some comedic parts (coming from Cary Grant and Jessie Royce Landis). So if you have opportunity, watch this movie cause it's a classic.
Simply Magical Moviemaking
Possibly the greatest ever thriller, NbNW combines terrific acting, dialogue, cinematography, music and storyline. But the real standout is the editing. If there was ever a film that merited the cliché "a nonstop thrill ride", it's this one. The pace never slackens. I particularly like how it cuts straight from the Mt Rushmore face to the train bunkbed. I hate the anticlimactic, overlong, hokey endings of most thrillers. The final scene (scenelet) is very short, romantic dénouement, à la James Bond. How refreshing.

Oh, the champagne dialogue in this movie is simply premier cru, darlings! Eve: "You don't believe in marriage." - Thornhill [indignant]: "But I've been married twice." - Eve: "See what I mean?" Or take this repartee... Vandamm: "Seems to me you fellows could stand a little less training from the FBI, and a little more from the Actors' Studio." - Thornhill: "Apparently, the only performance that'll satisfy you is when I play dead." - Vandamm: "Your very next role. You'll be quite convincing, I assure you."

The dialogue is also very risqué for a 1950s film in places. In the dining car, for example, Thornhill: "The moment I meet an attractive woman, I have to start pretending I have no desire to make love to her." This thinly-veiled propositioning of Eve/Eva for sex, which sounds banal these days, would have been outrageously shocking to its original 50s audience. Likewise, "I'm a big girl." - "Yeah, and in all the right places, too." A cliché now, but imagine its impact then. "I've heard nothing but innuendoes," says Vandamm at one stage. He's right; there are plenty in this movie's verbal and visual imagery.

This dialogue, and the general production design, conspire to create product that, unlike other Hitchcock thrillers like Rear Window and Psycho, doesn't appear dated now. The design is ultramodernist, which is reflected in the architecture of the locations like the NYC UN HQ and the Rushmore lodge.

A convoluted plot is usually the result of bad scripting or an attempt to mask a movie's deficiencies in other areas. As usual, Hitchcock keeps the plot dead simple and doesn't complicate matters by trying to explain. It's just some kind of meaningless Cold War spy thing. This perfectly suffices, for it's quite incidental to the thrilling chase that forms the core of the film. What seem like hokey, incredible contrivances, such as Eve's coming on so strong to Thornhill in the dining car (when we think her unaware that he's not a real murderer) are soon enough fascinatingly demystified. (She's in cahoots with Vandamm, or, as we later find, an undercover agent trying to expose him!)

Fantastic performances from Cary Grant, James Mason, Eva-Marie Saint and a much-underused Martin Landau. If there's one criticism, it's that Cary Grant is preternaturally unflappable as the urban sophisticate plunged into a living nightmare. He always retains his self-assured, even arrogant, panache and never panics. In fact, with that ever-present twinkle in his eye, he seems to be getting perverse enjoyment from his own misfortunes. However, his modulated performance remains just the right side of comicality.

Eva-Marie Saint is camera-loved as the lethal seductress. She seems the perfect Bond girl. Had her star risen a few years later, I'm sure she'd have been captivating Connery. In fact, this movie shows that Hitchcock could have directed James Bond. It's no secret Bond's film incarnation was modelled to some extent on Cary Grant's supersuave persona in this film.

A young-looking Martin Landau is effective as the menacing sidekick, although it's only in the final scene in the Rushmore lodge that he has any quality screen time or lines. James Mason underplays the role of the polished, oleaginous villain perfectly. His very British voice and demeanour conveys menace by suggestion, not overt declaration. He too, like Saint, would have been ideal in a Bond film. He doesn't sound ridiculous mouthing lines like, "A bit naughty, using real bullets!" [my paraphrase]

[Continuity: In the scene in Eve's hotel room, Thornhill calls for the valet to sponge and press his suit. He's told it'll take 20 minutes and a guy comes to collect the suit a minute later. He pretends to take a shower, whilst Eve absconds. Thornhill leaves immediately, and he doesn't return to the hotel. However, in the next scene, we see him wearing the same suit, perfectly sponged and pressed. There's no way he could have returned to the hotel to collect the suit.]
absolutely unbelievable
SPOILER ALERT, please do not read this unless you've seen the movie. Let me assure all you Hitchcock lovers that I also love Hitchcock. Some of my favorite thrillers are Psycho, Rear Window, and Family Plot. I realize you have to "suspend your disbelief" to a certain extent. But I found most of the story in North by Northwest absolutely unbelievable. Spoilers follow. I don't understand why the bad guys jumped to the conclusion that Cary Grant was the spy they were after, a spy they'd never even seen. I don't understand why Cary Grant didn't just start yelling and screaming as they abducted him in front of a big crowd of people. I don't understand why the bad guys decided to kill him, not by merely shooting him, but by bothering to force booze down his throat and putting him behind the wheel of a car, or how he was able to drive at all (rather than passing out). I don't understand why the police didn't find out whose house it was (the U.N. diplomat) and then wonder why anyone was there. I don't understand how the blonde knew which train Cary Grant would take, how she knew who he was (so she could pay someone to have him seated at her table in the club car), and why she helped him at all. I don't understand how a large crowd could witness a diplomat being stabbed by someone throwing a knife, then conclude that Cary Grant did it, or why Cary Grant (the ultimate stupidity) would pull the knife out of the diplomat's back and hold it up for everyone to see. Or why, once he was a hunted man, he did absolutely nothing to alter his physical appearance. I don't understand (skipping forward a bit to shorten my review) why the blonde sent Cary Grant to what should've been his certain death, and why, when he survived and saw her again, it didn't even bother him. I don't understand why the bad guys used such an absurdly contrived means of attempting to kill him again, having a crop duster fly at him, instead of (again) just shooting him. I don't understand why the crop duster pilot couldn't avoid flying his plane into a truck. I don't understand why the bad guys were hanging out in an open house that anyone could get into. And I don't understand how Cary Grant and the blonde (or anyone else) could possibly cling to the monuments with nothing but their bare hands and not fall to their deaths. So, with apologies to everyone who ate this up and loved it, I couldn't believe or understand any of these things.
Hitch's Best
I agree with so many of the comments here---and I too feel it's Hitchcock's very best. All the elements are perfect. It's hard to pick a favorite scene, but I think it's the sequence at VanDam's house at Mt. Rushmore. I would love to know about that house. How much of this was a set piece? Was it really at Mt. Rushmore? That kind of thing. Email me if you have any info. Also, does anybody agree Grant may have blown a line when he said, "He's assembling the General Assembly this afternoon"? Should that not have been, "He addressing the General Assembly this afteroon"? I've seen this movie more times than I can count and that has always seemed curious to me. And its always to fun to see the boy stick his fingers in his ears before the gun fires in the Mt. Rushmore cafeteria. A classic for Gaffe Squad addicts. And, I've always felt the chase over Mt. Rushmore is one of the very best illusions created in the movies. A superb achievement in Art Direction. And if you really want to put this film under a microscope, count how many quick cuts are made after Thornhill gets off the bus at the prarrie stop and is taking stock of where he is out in the middle of nowhere. Finally, if you are a Hitchcock fan you know how good he was with scary faces. And NbyNW is loaded with them. Would love to hear from other fans of this great film--my alltime favorite without question.
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