NORTH BY NORTHWEST (1959)

Film of the Day #203

NORTH BY NORTHWEST
1959 • Alfred Hitchcock

Cast: Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Josephine Hutchinson, Philip Ober, Martin Landau, Adam Williams, Edward Platt
Screenplay: Ernest Lehman
Cinematography: Robert Burks
Music: Bernard Herrmann
Producer: Alfred Hitchcock

Metro-Goldwyn-Mayer

You gentlemen aren't REALLY trying to kill my son, are you?

In the heart of bustling New York City, a case of mistaken identity sets the stage for one of the most entertaining thrillers of all time. Meet Roger Thornhill (Cary Grant), a suave yet clueless advertising executive whose life takes an unexpected turn when a group of foreign spies, believing him to be a high-profile secret agent, decides to eliminate him. Escaping death by a hair's breadth, Thornhill finds himself thrust into a perilous game of cat and mouse. As he attempts to unravel the mystery behind the relentless pursuit, he delves deeper into a web of international espionage and intrigue. With each revelation, Thornhill's situation becomes increasingly dire, his every move shadowed by danger. Along the way, he encounters the beautiful but enigmatic Eve Kendall (Eva Marie Saint), whose motives remain as shrouded in mystery as the identity of Thornhill's pursuers. From the bustling streets of New York to the cliffs of Mount Rushmore, Thornhill's journey is a whirlwind of suspense and unexpected twists. As he inches closer to the heart of the conspiracy, the line between ally and adversary blurs, and Thornhill must rely on his wit and resourcefulness to survive.

Alfred Hitchcock weaves a mesmerizing tale of mistaken identity, romance, and espionage. Roger Thornhill is peak Cary Grant, who infuses the character with his signature charm and humor, creating a protagonist who is not only relatable but also irresistibly charismatic. Thornhill's journey begins with a case of mistaken identity, a situation that would leave most people in a state of panic. Despite the danger that constantly lurks around him, Thornhill maintains an impeccable sense of humor and grace under pressure. Grant's witty one-liners and impeccable comic timing are the highlight in a film filled with highlights. Whether he's engaging in a battle of wits with James Mason’s villainous Phillip Vandamm or playfully flirting with Eve Kendall, Grant's performance exemplifies his magnetic presence. You can’t help but root for Thornhill even in the face of seemingly insurmountable odds. We see Thornhill evolve from a bewildered New York advertising man straight out of “Mad Men” into a resourceful and daring hero, all while maintaining the impeccable manners and quick wit that are quintessentially Cary Grant. He is a symbol of resilience and style, a reluctant hero whose journey is not only thrilling to witness but also endlessly amusing.

Eva Marie Saint is mesmerizing. As the enigmatic Eve Kendall, Saint leaves you questioning her true intentions throughout the film. She is both delicate and vulnerable. The chemistry between Saint and Cary Grant is electric, its heat practically fogging the camera lens. Every exchange, every stolen glance, adds an extra layer of sexual tension to the already suspenseful plot. Their banter is sharp, laden with innuendo. Eve Kendall is not just a love interest; she's a formidable counterpart to Thornhill, a woman who is as intelligent and resourceful as she is beautiful. Together they form an alliance that is as dangerous as well as passionate.

James Mason and Martin Landau play the heavies in this thriller. James Mason, in particular, devours his role with gusto, portraying Phillip Vandamm, the suave yet ruthlessly cunning mastermind behind the devious plot. Mason's commanding presence and velvety voice make Vandamm a truly memorable villain. He exudes charm and sophistication, making him all the more dangerous as he manipulates those around him, including the unsuspecting Roger Thornhill. Landau, on the other hand, brings a different kind of intensity to his character, Leonard, Vandamm's right-hand man. He is meticulous and calculated, reflecting his willingness to do whatever it takes to ensure their plans succeed. He is the perfect counterpoint to Mason's suave charm, creating a duo that is as captivating as it is chilling.

A film’s musical score can often be the unsung hero, but not in North by Northwest, which provide us with unforgettable film music. From the very first notes of its bombastic opening theme, Herrmann's score sets the tone for the entire film, injecting suspense and anticipation into every scene. Its orchestral grandeur immerses the audience into the world of intrigue that Alfred Hitchcock meticulously crafts. The opening theme of has rightfully earned its place among the unforgettable scores in Hitchcock's filmography, alongside the murderous melodies of Psycho and the haunting tones of Vertigo.

One of the most heart-pounding moments in North by Northwest occurs during the crop dust plane sequence. Here, Hitchcock earns his title as “Master of Suspense.” The scene opens innocently enough, with Thornhill waiting at a desolate bus stop in the middle of nowhere. He sees the plane circling, noticing it’s peculiar pattern. Slowly it starts to dawn on both Thornhill and the audience that crop plane is heading right for him. Thornhill's desperate attempt to escape, running across vast, open fields, is a perfect blend of Hitchcock's direction and Grant's physical acting. The scene's tension peaks when the plane makes a final pass, narrowly missing Thornhill. This sequence has not only become synonymous with the film and Hitchcock himself, but it’s one of the most iconic images in cinematic history without hyperbole.

The climax unfolds against the majestic backdrop of Mount Rushmore, a setting as grand as the stakes in the film. Thornhill, along with Eve, finds himself scaling the iconic faces of the Presidents, pursued by Vandamme’s relentless henchmen. The scene is the epitome of suspense, set against the heights and the stone faces that seem to watch their every move. Cary Grant's physicality shines here as he dangles precariously, inching his way to safety. This escape sequence isn't just a triumph of action choreography; it's a testament to Hitchcock's ability to create nail-biting suspense in the most unexpected of settings, much like 1942’s Saboteur takes place at the top of the Statue of Liberty. And when everyone is safe and sound, Hitchcock can’t help but sneak in a not-so-subtle but plausibly-deniable sexual innuendo to end the film. The scamp.

Now you listen to me, I'm an advertising man, not a red herring. I've got a job, a secretary, a mother, two ex-wives and several bartenders that depend upon me, and I don't intend to disappoint them all by getting myself "slightly" killed.

Notable Awards & Accomplishments

• National Film Registry: Selected in 1995

• 3 Academy Award Nominations: Best Writing, Best Art Direction, Best Film Editing

• Director’s Guild of America Award Nominee: Outstanding Directorial Achievement in Motion Pictures

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