🎦 North by Northwest full movie HD download (Alfred Hitchcock) - Drama, Thriller, Action, Adventure, Mystery, Romance. 🎬
North by Northwest
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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Maybe the best display of Hitch's wonderful sense of humor
Hitchcock was always celebrated for his beautifully articulated sense of humor. In this movie, that mixes so fantastically well with Cary Grant's natural sense of comedy that we come away having seen both a tight, suspenseful thriller and perhaps Hitchcock's most amusing work. All in all, such an entertaining film that even those who find Hitchcock overrated (and there aren't a whole lot of them) will love it. This is a fine picture and perhaps my favorite Hitch film ever.
Suspenseful masterpiece!
I think "North by Northwest" is great! Cary Grant is his charming self as Roger Thornhill, and Eva Marie Saint is delightful as Eve Kendell. I also think James Mason gives an excellent performance as bad guy Vandamm.

My favorite part is the auction scene. Roger knows that Vandamm's men are surrounding the place, and that he would never get out alive. So the only way to escape is to create a disturbance, and be escorted out by the police. This is exactly what he does, and it's hilarious!

Although everyone has seen the famous and climactic chase scene across Mount Rushmore, there is a great movie before and after that. I think that this movie contains one of Hitchcock's best "Mac Guffins", which is an extremely slight reference to what makes the enemy so bad. As the Professor says, Vandamm exploits "government secrets". Hitchcock always said that this wasn't important to the plot, because we only need to know that Vandamm is after Roger. I definitely recommend "North by Northwest" to any Hitchcock or Cary Grant fan, or someone who just wants to see an outstanding movie!
Thrill, Spills....and Hitch!
Cary Grant is THE James Bond who never was.

He was approached to play the role in the early 60's but he declined, citing that he was too old. Sean Connery got the job instead, and was a huge success. But one feels that Grant would have been the definitive Bond if he ever played the role. This, and 'Notorious', are certainly his best films for Hitchcock, and this is certainly his best Bond-type role. He stars as Roger O. Thornhill, a suave, womanising, New York advertising executive who is drawn into a web of intrigue after suffering a case of mistaken identity. He ends up being pursued across the country, unwittingly embroiling himself further in the web with his dalliances with Eve Kendall (Eva Marie Saint, as the Is She Good Or Is She Bad? femme)and others.

Hitchock's favoured 'Wrong Man' situation is utilised perfectly here, as Grant is caught up in circumstances that he has no control over. But Grant takes it on the chin, and his charisma and comedic timing as Thornhill are excellent. This is a most entertaining and humorous Hitchcock film that maintains it's pace and action for over two hours. The suspense never lets up, as we are treated with some truly amazing sequences, including the finale atop Mt Rushmore, a UN headquarters visit, and THAT pesky crop duster. And keep in mind that these are just a few of the many, many amazing scenes here.

Eva Marie Saint is so different here from the innocent Edie Doyle role in 'On The Waterfront' that garnered her an Oscar. She's matured into a sweetly seductive woman of the world who Grant falls head over heels for. Their encounter on the train is filled with corny pick-up lines and rather silly yet juicy dialogue, but it WORKS. One feels cheated when the train affair actually ends; re-winding is essential.

Hitch's love of trains is also conveyed perfectly here, with the train symbolising sexual attraction and mystery (check the closing shot especially- very overt symbolism!), as Grant and Saint ride on board. We also have great villains in James Mason and Marty Landau. The very charismatic James Mason is wonderful as the trademark very charismatic Hitchcock villain, Phillip Vandamm. His trademark mellifluous voice and dark good looks (is this man not insanely attractive?)are used to great effect here. He gets many great lines.

This is a re-working of Hitchcock's British film, The Thirty-Nine Steps (1935) with Robert Donat and Madeleine Carroll. Comparison is not really warranted, as they films from entirely different era's and made in different countries with vastly differing budgets. However, 'North by Northwest' jumps over the earlier effort when they are compared as just two Hitchcock films from the cannon.

Made a year after 'Vertigo' bombed, 'North By Northwest' is seen by many as Hitch's safe, crowd-pleaser film. True in many ways, yet it is an unassailable classic regardless of any formulaic overtones. Grant is perfect in this rip-roaring ride full of suspense.

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.
Smoke and mirrors, without apologies
The one famous gaffe people point out in this film is when a small boy can be seen plugging his ears just before Eva Marie Saint brings her café conversation with Cary Grant to a sudden end. Another gaffe, just as egregious and apparent but not nearly as commented on, is when Cary and Eva, clutching an incriminating statute, are rock-climbing around a quartet of famous presidential heads until a bad guy suddenly appears and leaps upon him. Whereupon the surprised, backward-falling Cary has the presence of mind to hand the statute to Eva, who takes his from him whilst in mid-scream. Do me a favor and read that last sentence again. What director today would allow such a scene past the editing room?

But it just doesn't matter: IMDB voters at this writing have placed the 44-year-old `North By Northwest' ahead of all but 18 movies ever made, including 14 which have nothing to do with Frodo Baggins or Darth Vader. That's pretty damn impressive. What the hell were they thinking? The only Hitchcock movie they rate higher is "Rear Window;" I can think of at least seven or eight Hitchcocks I'd rank over "North By Northwest." [None of them are "Rear Window."]

The truth is this film is so popular because it is so good. Not great, but very, very good, in a way that anticipates a lot of the direction of mass entertainment to come and thus speaks to people in a way `Vertigo' or `Strangers On A Train' do not. People talk about how forward thinking "Psycho" is, and it is, but more directors took note of the just-as-clever-but-more-mainstream approach of "North By Northwest." The last four decade have been chock full of flicks serving up suspense, sex, changing locales, and plot twists that play with viewers' expectations, all the while keeping the laughs coming. It's not like "North By Northwest" invented this formula, but it perfected and distilled it into an essence that is imitated, with varying success, to this day.

Cary Grant plays slick adman Roger Thornhill, who gets mistaken for a fugitive named Kaplan and finds himself on the run from a slew of bad guys, led by James Mason at his smug and oily peak as Vandamme. Martin Landau makes his first memorable appearance as Mason's nastiest henchman Leonard (1959 was good to him, as "Plan Nine From Outer Space" premiered that year as well), suspicious, ruthless, and probably gay. Not that there's anything wrong with that, but it was 1959 and that was a little daring.

Daring also is Eva Marie Saint's Eve Kendall, a woman who uses sex, as Thornhill puts it, "the way some people use a flyswatter." Her repartee with Thornhill shows just how erotic two people just talking to each other can be. It also provides further evidence Hitchcock's writers didn't go out on many dates. (Kendall: "I'm a big girl." Thornhill: "Yeah, and in all the right places." And she KISSES him for it!)

The film does chug slowly at the outset, building suspense but also bugging you a bit as the plot gears grind while Thornhill is being pushed through his early paces, right until his moment at the UN. About the time we find ourselves with Thornhill in the cornfield, the picture starts to pick up a serious head of steam, and never loses it all the way to the final, famous tunnel shot. Actually, I like the penultimate scene between Grant and Saint, an elegant and witty way of resolving that most tried-and-true device, the cliffhanger.

As with most of Hitchcock's ‘50s fare, elegance is behind much of what makes this movie so great. `North By Northwest' manifests an elegance in dress, decor, language, music, and lighting that represents the best of its era while giving the picture a timeless character all the same. Hitchcock's camera movements are very subtle yet brilliant, as during Mason's entrance and Grant's hide-and-seek game around the train. Everyone has perfect hair, lounges about in gowns and jackets, and you never think it should be otherwise.

Grant isn't my favorite actor, but he's smooth enough for the central role when he's not doing that bad Foster Brooks impression behind the wheel of the car. [I docked the movie one point just for that.] His best scene may be at the auction, though he projects real fear in the cornfield. Saint is simply splendid, nailing every line as she walks a tightrope and plays her character's motives close to her décolletage. Hitchcock seemed to lose his ability to direct female actors, and not merely bask in them, with the advent of color, but Saint is one blonde bombshell that gives us a sense of brains and personality behind her mystery.

There's logic gaps in this movie, and bad process shots, but it's an amazing ride all the same, more amazing because it's done with smoke and mirrors and without apologies. You ask the questions and figure out the loopholes only after you walk away, because the movie doesn't let you up much while you are watching it. Hitchcock made other, more challenging movies that attested to his rare vision as an artist, but this is maybe his purest exercise in the craft of good filmmaking. That's why `North By Northwest' has remained so high in people's estimations. Whatever the errors, it's hard not feeling good about that.
One of Hitchcock's best
Aside from Psycho I haven't really been a fan of Hitchcock. I sort of enjoyed Rear Window and The 39 Steps but that was almost it.

The main plot is that a man is mistaken for a government agent by foreign agents. he must run across the country to find the real agent and at the same time not get caught. he is also accused for murdering a member of the UN (of whom he mistakes for the person that kidnaps him under the impression he is a government agent).

My only major complaint is that the romance dialogue is heavily dated. What may have come across as romantic then comes across as a little perverted now. Lines like "I'm a big girl now" "yes, in all the right places" does not work for a modern audience in terms of believable romance dialogue.

Aside from that thing in this movie were well done. Unlike The 39 Steps I could connect to the characters (at least well enough for a 2½ hour movie). The acting was good (but nothing outstanding), the writing was good. I would recommend this to people that want to see Hitchcock at his second best.
One of the best directed thrillers of all time
Roger Thornhill (Grant) is mistaken for another man by a group of foreign spies and after a few unfortunate events, finds himself on the run.

North by Northwest is recognized as one of Alfred Hitchcock's finest films and with the adrenaline soaked narrative and a great central performance it is easy to see why.

Cary Grant (Charade) delivers a sensational portrayal of advertising executive Roger Thornhill, a simple man who is mistaken for someone else. Thornhill is wonderfully sarcastic, very charismatic and plaudits must go to Grant who has created an original hero, an ordinary man who turns himself into an action hero within a short space of time in Alfred Hitchcock's wonderfully realistic world.

Hitchcock's action styled direction is picture perfect for this fast moving thriller. The British director cements the realism down to the ground with his cutting edge close shots and the fast sweeping direction, most noticeable in the landmark plane scene in the fields.

It is easy to overdo action in modern day films and Hitchcock has expertly managed to balance the action alongside the everyday events of the protagonists.

This film is close to resembling a Bond styled genre, though obviously was made before Bond films were. The cocky yet sophisticated Thornhill is well directed by Hitchcock to create the ultimate action hero in a sharply written narrative that is more realistic and entertaining than the Bond spy genre.

The reason this 1959 thriller works is down to all the genres it covers. Through Hitchcock's action and realistic direction, viewers are thrust into action sequences, romantic moments and crime sequences to, providing viewers with the ultimate adventure. Covering different genres is not a stroll in the park as recent films show and can be appreciated here with Hitchcock's wonderful balance.

The balance of the action and romantic genres works well with the whole mystery concept of what is happening to the central character.

The settings are well executed and further add to the intensity of the plot, particularly the field and the climax on Mount Rushmore.

North by Northwest is a top notch action thriller, made so by Hitchcock's direction, great writing and a fine central character.
Superb Hitchcock Thriller!
"North By Northwest" is another of Alfred Hitchcock's thrillers where an ordinary man is put into an extraordinary situation. As in most of these movies, the hero has to quickly adapt to his situation or perish.

This time it is Cary Grant who is thrust into a world of international intrigue when is mistaken by villain James Mason for an American operative named George Kaplan (the film's "McGuffan" by the way). Along the way he is seduced by Mason's mistress (Eva Marie Saint) while being pursued by Mason and his cronies from New York to Chicago to South Dakota and ultimately to Mount Rushmore for the film's climax.

"North By Northwest" is full of classic Hitchcock moments. First,there is Grant's frustration and fear as he tries to explain to Mason that he is not the person they are seeking. Next, the scene in the cornfield where Grant is isolated and attacked by a plane is pure Hitchcock. Then we have the art auction where he cleverly escapes Mason's henchmen and finally, the finale at Mount Rushmore in a scene reminiscent of a similar one in "Sabotage" (1942) (which took place at the top of the Statue of Liberty).

The cast, as in most Hitchcock films is excellent. Grant is understandably confused and frightened as the the hero, Eva Marie Saint has never been sexier as the femme fatale, James Mason is suave and sinister as the villain and Martin Landau in an early role, is good as Mason's chief henchman. Hitchcock regular Leo G. Carroll is cold heartedly sinister as the "professor". Jesse Royce Landis as Grant's mother (she was about Grant's real age) is wasted and unnecessary to the plot.

The only problem that I have with this and other Hitchcock films is his over reliance on back projection and soundstage "exteriors". Other than that. "North By Northwest" has to be considered as one of Hitchcock's best. Watch for Hitchcock's hilarious cameo appearance at the end of the opening credits.
Best Hitchcock Movie
If anyone has doubts about the power of mistaken identity and its place in fiction, look no further than this film. The many hokey takes on it through the years have diminished its very real power as a storytelling device. As a comedy trick, it is cheap and dull. But as a dramatic trick... there is real force behind it. Everyone dreads being alone in the time of a crisis and not having anyone believe them and feeling like they are sinking further and further into a pit that's growing ever deeper and deeper. A good filmmaker can use the idea of mistaken identity in a tense situation to tackle these fears. And Hitchcock most certainly is a few steps above a good filmmaker.

In fact, he is at his best here. Vertigo may be his best shot film from an artistic point of view. Rear Window (which I would have done a review of for this series of critical takes if I had seen it in time and is quite excellent) is his most interestingly shot movie perspective-wise. But this is Hitchcock showing his truest colors. All the tropes of his directorial style are on full display and are in fine shape. I often joke to myself (I'm alone a lot) about Hitchcock's love of his use of his specific style dashboard cam no matter the situation, but it can be an effective cinematic tool to increase tension, make the area feel more claustrophobic, and increase focus on the characters.

To give a one-sentence synopsis: An advertising executive is mistaken for a secret agent from the authorities and must go on the run. What follows is a wild yet deft 136 minutes of what I believe to be Hitchcock's most obviously entertaining film. Pulses pound as the characters move like chess pieces around a well-written, twisting and turning storyline that causes many iconic scenes, the most famous of which being when Thornhill (The protagonist) runs from a crop duster craft. It is everything an action scenes should be, and the isolation kicks every element up a few notches. It is the favorite scene of many, including me.

Every element, from the action to the mystery, is well-executed. The dialogue is interesting, as it is in many Hitchcock movies. In fact, one of Hitchcock's most underrated talents is writing-dialogue. He may not be a Sorkin or a Woody Allen, but he knows that dialogue is the key to making interesting characters that are more than just pieces in a puzzle. He may have believed that actors are cattle, but one can tell from watching his films that he knows the importance of characters. His dialogue is natural yet profound, and while depicting catch phrases and fads from that era would make the movies seem dated, the intelligent, understated way he talks about the issues of his time here and there make the movies seem like they are proudly representing their time. The difference is the difference between decay and grandeur, between the many ephemeral leaders of Rome and the never-fading Roman culture.

The acting is more than fine. Cary Grant, one of the legends, puts on a believable and thorough performance. In some of the quieter scenes, it is what makes the film work. Eva Marie Saint, another legend (and a blonde, as most women are in Hitchcock movies) adds spice and edge to a role that would have been ordinary had it been performed by a less actress.

On a side note, I don't think I'm the only one who finds it just a bit creepy to watch someone act on the screen when they're now dead, like Grant, and even more bizarre when they're still alive but have aged quite a bit since their role, like Ms. Saint, who is alive and in her nineties at the time of this review.

Hitchcock is known as the Mater of Suspense and this film shows you why; it takes all sorts of twists and turns. One of the trademarks of Hitchcock films is their ability to appear like they're one type of film before seamlessly yet starkly transitioning to another. The Birds went from a screwball Pythonesque comedy to a horror film, Psycho from a heist film to a dark twisted thriller. I have seen no other director that can pull off this trick so well. In this film, we go from a more mysterious psychological movie to more of an espionage adventure tale; it's not as jarring of a shift, but it is a shift nonetheless.

The score represents Hitchcock's best on that front. Scores like this are the reason why an unscored movie like The Birds or a softly scored flick like Rear Window come as such a shock. This score is big and booming and dynamic. Yes, the fifties were riddled with over the top scores (it's actually one of the best ways to identify a film as being from that decade) but Hitchcock knows how to use it in a way that cuts the through the inherent cheesiness of the idea (though I still can't stifle a chuckle every time it gets real intense) and turn it into an impressive cinematic tool the underscore the many important moments of the film. Give the soundtrack a listen; it is perhaps even more impressive when give a listen away from the film.

If I was given one word and only one word to describe this movie, I would choose iconic. This is the sort of movie that deserves to be watched, to be passed down from generation to generation and held up as one of the hallmarks of great cinema. Watch and take in what has been honored for generations and has, like landmarks of many other sorts, affected the lives of many, including me, during that time.
A timeless thriller which mixes romance with suspense in equal proportions.
What makes this movie stand apart from the modern day thrillers- the story that leaves us bemused for more than an hour from the commencing of the movie, Hitchcock's direction and the wonderful camera work that by all means bolsters his way of presenting a story and not just telling a story, or is it a great actor who never caught up with age and exemplified a gentleman as a man in a tuxedo? I'd say, all of it.

Just as you think the movie is headed in no particular direction, Hitchcock steers the swerving vehicle first towards North by train and then Northwest by flight.

Anyone who has watched the film cannot simply remain silent about the fact that they witnessed the best typography ever, a work from the master of it, Saul Bass. And like every other Hitchcock's films, Bernard's soundtracks adds to the suspense in the story.
📹 North by Northwest full movie HD download 1959 - Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Josephine Hutchinson, Philip Ober, Martin Landau, Adam Williams, Edward Platt, Robert Ellenstein, Les Tremayne, Philip Coolidge, Patrick McVey, Edward Binns - USA. 📀