Still trying to catch my breath after so many major plot twists on this thrilling adventure by Hitchcock. Probably one of the best film editings on cinema history, Hitchock does an amazing work as usual, with his identification formula: placing obstacles to the main character and not letting you take your eyes of the screen until you know how it ends.
NORTH BY NORTHWEST is definitely my favorite movie from director Alfred Hitchcock. With its 136 runtime, it never bored me. Mr. Hitchcock succeed to maintain the excitiment from start to finish. NORTH BY NORTHWEST has some dazzling action sequences. Thanks to Mr. Hitchcock's excellent direction & Ernest Lehman's solid screenplay. Cary Grant is awesome as usual & Eve Marie Saint is absolutely beautiful. Entertaining!
Carey Grant! Beta version of James Bond! Might seem like a funny comparison but the film beats are all there, the only difference is Grant isn't a spy, despite how cool he seems to be throughout the resulting events happening of his mistaken identity. James Mason would have made a great bond film as well, imagine that voice telling Bond he expects him to die. So yeah, blueprint of all future Bond films copied this.
The first 20 minutes or so are hilarious due to the amazingly witty dialogue, then the film becomes increasingly more serious. Overall, it's a solid work with brilliant performances by the dashing Cary Grant and the seductive Eva Marie Saint. The film is let down by a farfetched final third and the overextended runtime.
Hitchcock performer, sujeto- actor paródico-paradójico de la comedia, mujer hacia ninguna parte, hombre hacia ningún lugar. Tal vez, la secuencia del espacio vacío, en ningún lugar, del campo desértico norteamericano, sea lo que constituye esta película: comedia hacia la nada misma, clichés, ficción, personas equivocadas, identidad traspuesta, yo soy el gato y tú el ratón, yo soy el ratón, tú el gato, apariencias.
3-4. I'm torn on some aspects (the gender-coding of certain forces), but in love with the way Hitchcock actualizes his ideas. Not just the way that Hitchcock emphasizes vehicles as created spaces against nature as an untamed landscape of feminine forces (emotion/chance), but the way he caps his explication on construction by framing such an important monument as artifice and making it complicit in the climax.
Scintillatingly silly and silkily preposterous - this is certainly hokum - but with such a gorgeous polish as to be beguiling. All elements, technical and artistic, smoothly coalesce making nonsense never seem so stylishly effortless. Cocktail hour at its most suspenseful.
Excellent "man on the run" thriller with a huge numbers of great set pieces and a great cast. It is one of the essential Hitchcock pictures. After perfecting this genre Hitchcock left this type of movies in search for new challenges. It is still the best of it's type nearly 60 years later.
Engaging and dynamic plot is enriched with often hilarious but always sharp dialogues - and Cary Grant delivers his lines in such a natural, charming almost dorky way that it's hard to look away. Iconic scenes and filming locations as well the ambitious action filmmaking are here to cement this as a classic of its time, with only final scene being awkwardly abrupt in a very anticlimactic manner.
Fascinating how such an epic asshole as Hitchcock helped redefine cinema across different genres throughout his life. This one is just another in a long line of such examples, showcasing not only his master approach to building intrigue, but also providing a backbone for many an adventure/action movie to come.
Even though it's one of Hitchcock's most memorable and iconic films. It doesn't quite do it for me. It's playful and visually magnificent but it just doesn't have as much depth to it story wise or character wise as some of Hitchcock's finest films such as Psycho; Strangers on a Train, Vertigo and Marnie.