8.4/10
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North by Northwest (1959)

A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive.

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Top Rated Movies #74 | Nominated for 3 Oscars. Another 8 wins & 4 nominations. See more awards »

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Cast

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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. Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

The Master of Suspense presents a 2000-mile chase across America! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

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Release Date:

26 September 1959 (Japan)  »

Also Known As:

Alfred Hitchcock's North by Northwest  »

Box Office

Budget:

$3,101,000 (estimated)

Gross:

$13,275,000 (USA)
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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)| |

Color:

(Technicolor)

Aspect Ratio:

1.75 : 1
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Did You Know?

Trivia

The movie's title is a reference to a line from Hamlet, Act 2, Scene ii: "I am but mad north-north-west. When the wind is southerly, I know a hawk from a handsaw." See more »

Goofs

The view out the window during the dinner scene on the train is not consistent. See more »

Quotes

Roger Thornhill: Who are you?
Valerian: Mere errand boys carrying concealed weapons. His is pointed at your heart, so, please, no errors of judgment, I beg of you.
Roger Thornhill: What is this? A joke or something?
Licht: Yes, a joke. We'll laugh in the car.
See more »

Crazy Credits

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 »

Connections

Referenced in Team America: World Police (2004) See more »

Soundtracks

I've Grown Accustomed to Her Face
(1956)
(uncredited)
Music by Frederick Loewe
Lyrics by Alan Jay Lerner
Portion sung by Cary Grant (as "I've Grown Accustomed to Your Bourbon") as he's being seated behind the wheel of the Mercedes while drunk
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
I finally get how great it is: Hitch infuses his wrong-man caper with ironic movie language and reality-be-damned escapism and suspense.

Its Hitch's most briskly entertaining movie, and one of his most comic, adventure-caper type movies, largely thanks to the persona of Cary Grant. But its also one of his most suspenseful - in the fact that Grant is being recognised as someone else, and that he may be put in jail for someone else's crime.

I've finally come to realise just how great North by Northwest is. The reason you should love Hitchcock is he put entertainment upfront. Hitchcock was not interested in whether this or that would happen in real life: he was interested in what would make the most entertaining scene for the movie. North by Northwest is a peak in this regard. The dialogue and situations intentionally throw reality to the wind - the double-entendre dialogue in the love scenes is not supposed to be the way people talk!

If you said to Hitchcock "as if he'd keep driving" or "as if she'd do that"

  • he would just laugh at you and say you've missed the point. This is 100%
movieland, and once you get used to the fact, and that this is not a fault in the film, but done intentionally, you'll love it. Its expressionistic - everything happens in movie language: the people laughing at Grant in the elevator, the way he keeps driving drunk near the beginning, the way he grabs the knife and everyone stares at him after someone's been stabbed.

It flirts with the idea of identity. I thought it was interesting how Grant first is dismissing, then incredulous that people should be calling him by another name; then, as the tries to find out who this guy is, he enters the hotel room of this new identity, then he puts the suit on, and finally he identifies himself as George Kaplan.

A succession of fantastic, memorable scenes, a great leading man in Grant, and one of Hermann's essential Hitch scores make for a movie i can put on at any time.

10/10


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