🎦 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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My favorite movie!
This movie is my favorite movie ever. I have seen it over twenty times, own a copy on video, and I never grow tired of seeing it. Ernest Lehman wrote an impeccable script, and the soundtrack of the film drew me into the movie music of its composer, Bernard Herrmann, who is a god, I think, officially. Grant and Mason are wonderful, and who could resist hearing their famous voices together in the same film. I love the way James Mason says, "Rapid City, South Da-ko-ta." The dialogue is quite funny. Hitchcock creates several great scenes besides the Mount Rushmore and the famous cropdusting scenes. For instance, the scene in which Roger Thornhill and his mother are on the elevator with Van Damme's henchmen, who are out to kill him. Only Hitchcock could make this so superbly. As the elevator descends, the music grows more intense and suspenseful, until the breaking point, at which Roger's mother says "You gentlemen aren't really trying to kill my son, are you?" To which the henchmen respond with side-splitting laughter, and are echoed by all the people on the elevator, including Roger's mother (played splendidly by Jessye Royce Landis), who laughs loudest of all.

The house which Van Damme resides in at the end is quite architecturally unique, as much as the house in Glen Cove is elegant and done quite well. There are some character actors in this film who will remind you of other roles they had, like the guy who played "Chief" in the hit series, "Get Smart," or the guy who plays one of the henchmen, who was the psychiatrist in a movie about a character played by Anthony Perkins who had a mental breakdown.

I admire Martin Landau's work in this film, and think he is severely underrated. Thank goodness he got some recognition for "Ed Wood." The trick of rubbing a pad and paper to find out an address as employed by Thornhill in the hotel room amazed me as a kid. Notice Thornhill (Grant) whistles "Singin' in the Rain" when he pretends to shower. Also, notice Hitchcock's cameo at the beginning when the titles are being displayed, he walks up to a bus door right as it is being closed, and as he walks forward, his title, "Directed by Alfred Hitchcock," disappears horizontally, left-to-right.

This movie is best watched from the very beginning before Leo the Lion's roar, while eating coconut cake (with 3 layers and real coconut, not angel flake). I really have tried it that way, several times.

The panic scene that ensues after the real Mr. Townsend is knifed by one of Van Damme's henchmen in the United Nations Building is great cinematography. The ladies standing up, in shock, the photographer, the person saying, "He's got a knife," and Thornhill's protestations of innocence go together to make a great scene. I am reminded of the panic scene near the beginning of Hitchcock's "Saboteur," in which the munitions plant begins burning down. You watch "Saboteur," and you'll see what I mean.

Eva Marie Saint is gorgeous in this and I wish I had been around back then in the wonderful fifties. Her red colored dress is particularly beautiful. All the dialogue in the love scenes is great, and of course, Hermann's musical number, "Conversation Piece," is quite good. I have the soundtrack on CD.

Of all the lines in the film, I like this one the best "Did you know you overplay your various roles, Mr. Kaplan? First you're the typical Madison Avenue man accused of a crime you know you didn't commit, now you're the peevish lover, stung by jealousy and betrayal." It goes something like that, and is spoken by Van Damme (James Mason).
"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!
A top notch Hitchcock film...score: 9 (out of 10)
I am not much of a Hitchcock guru as some people are mainly because I find most of his films as being the same type of scenario - human chasing something or someone, or human being chased by something or someone. No where is this more evident than in this movie. The film opens when Roger Thornhill (Cary Grant) comes out of his Madison Avenue office to attend a social gathering at a local bar. While he is in the bar, two thugs mistake him for a double agent and, of course, he is abducted. He is transferred to the whereabouts of a certain Mr. Lester Townsend (James Mason). I am not going to give out any more details except from there on out, Thornhill winds up being chased and chases the culprits, who want to see his demise, to the final scene at Mount Rushmore. Along the way, he finds time for romance with a certain lady friend (Eva Marie Saint). The best part of the movie happens when Thornhill is pursued through a cornfield by a crop duster - a classic Hitchcock scene.
Greatest Hitchcock Movie EVER!!
I'll never forget the first time I saw this movie. This movie has everything. It has action, drama, comedy, lively music(thank you Bernard Herrmann), great costumes(thank you Edith Head), and of course outstanding performances not only by Hitch in directing, but in acting with Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll(He was in every Hitch movie it seemed), and Martin Landau(in his first film role--he was brilliant as Leonard). I love the way Cary Grant says things in such a deadpan way like when he says early in the movie, "Don't tell me where we going, surprise me!" Although long, you will not be bored for a single second. It is really hard for me to believe that Ben-Hur was that great. This movie should have won several oscars. The end is very memorable as well although I won't give it away. This movie had several memorable scenes although without question Cary Grant running from the plane is probably the most famous and one of the most famous in all of movies. One curious note is that Jessie Royce Landis, who also appeared with Grant in To Catch a Thief, plays Grant's mother although Grant is 10 months older than her! Also, make sure you pay attention to the kid in the cafeteria who sticks his fingers in his ears a tad too early! It is a shame that when people mention Hitchcock's name, they think of the horror stuff like Psycho or The Birds or they think of the taut thrillers like Vertigo or Rear Window. Not that there is anything wrong with these movies, it is just that nobody thinks he can direct such a non-stop action picture like this. It may have been the most atypical Hitch movie ever in terms of style, but I feel it is his greatest ever. If you have never seen this movie, you got to go see it now--you'll be glad that you did. I'll leave with another one of my favorite lines in the movie that Cary Grant says to Eva Marie Saint, "How does a girl like you become a girl like you?" WATCH THIS MOVIE!!!!!
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.
Hitchcock once again
Cary Grant was certainly an excellent actor, he was able to lead some thrillers without loosing his acting humor, and "North by Northwest" is an example. Interesting that the film starts with the presence of the director Hitchcock in its first scene. Then Cary Grant became for unknown reasons a man (spy) called Kaplan, he was kidnapped at the restaurant and brought to a big house where the punishment was to get him drunk with whiskey and then left driving a car in the evening. I have no intention to give the whole story of the plot, but you may guess that after these first scenes the rest was very much complicated and if you leave the screen you risk to loose the coherence of the film and not to understand all tricky reasons given by Hitchcock. Grant had a good partner in then beautiful Eva Marie Saint, and to a lesser extent from experienced James Mason. If you wish to see an interesting film, I advise you to see this one, another Hitchcock's jewel.
A genuine classic which is sheer enjoyment throughout
If you read the trivia section for this film you will find numerous bits of information relating to who might have been starring in this film if the circumstances had been different. For me the people who were involved were perfect. I know nothing about film making but it seems to me that the director knew what the story was and who the people were to be in the film and then he decided how to create it. And a masterpiece is what he came up with. The film will keep you transfixed because its overall message is fun. Yes there is tension, danger and some people die but if you watch the film with an open mind you will see what I and lot of other people mean by fun. Life at times can be absurd and unbelievable and there are parts of this film when you just smile because you can identify with most of what happens on screen. As far as I am aware its not a true story, its just a cinematic creation that is also a classic and will be a joy to watch again and again. This film is fifty years old but like every other great film its as enjoyable today as it was when it was made. Buy, rent or borrow the DVD and you will not be disappointed.
My personal favorite of Hitchcock's films!
It's all too simple really. Hitchcock used this plot device before in many of his films; the innocent man caught up in circumstances beyond his control ("The Wrong Man", "The Man Who Knew Too Much"). However, never will you see Hitchcock use this device more cleverly and stylishly as in "North By Northwest."

Cary Grant plays the innocent man like, well, Cary Grant. Add James Mason as the villain (Mason has a great voice... close your eyes sometimes when watching...chilling!), Martin Landau as his henchman, and Eva Marie Saint as the cool blonde equals a great film.

What other Hitchcock film can boast of not one but two famous suspense scenes? Cary Grant being chased down by a dustcropper will be talked about and studied in film schools for years to come. The chase across Mt. Rushmore is a perfect way to climax the film as well...

There are smaller things to look for too. Watch for the famous kid in the snack shop who covers his ears seconds before a gun is shot and why did Hitchcock use THAT image over "The End"??? Hehehe...
What an Action Thriller Should Be.
VERTIGO did nothing to advance Hitchcock's career in 1957 when he released it, and it's actually not a shame: the following year he decided to go completely against the slow-moving erotic thriller genre and do something shamelessly commercial, escapist and single-handedly create the spy movie. Ian Fleming, author of the James Bond novels, states he based his character on the physical characteristics and the suave personality of Cary Grant, as an added note. This could well amount to be the first James Bond film -- a dangerous villain complete with a sidekick, an alluring woman with a dubious nature and an enigmatic "boss," a dashing hero, lush locales setting the scene for powerful chases and escalating danger.

NORTH BY NORTHWEST has one crucial difference to any James Bond film, though: Alfred Hitchcock. While the Bond films have been seen as quintessential action fluff (although fluff of the better kind until the franchise ran out of gas in the 80s), Hitchcock, always the master of subtext as well as suspense, creates memorable scenes that balance sexual tension, sexual innuendo, comedy, and mounting suspense seamlessly. There is never the feeling of being bored as there is too much going on, especially with the sizzling chemistry of Eva Marie Saint and Cary Grant, by now a Hitchcock veteran. When they're on screen, dialog crackles and so much more is said with so little gesture -- she closes the lid on her Ice Goddess role, but gives it a nice, cheeky, knowing wink. He of course evolves from the sort of man who while looking and being slightly clumsy and under his mother's thumb -- once it becomes clear he's been marked and is a target for a sinister plot that only later becomes clear -- becomes more assertive in taking matters into his own hands. A quintessential Hitchcock Everyman, Grant has his stamp all over his role. No one can imagine anyone else running away from that crop duster in one of the movies many standout sequences, or saying the reassuring last words to Eva Marie Saint as they cuddle together in the train. When one thinks of NORTH BY NORTHWEST, one thinks Cary Grant.

Easily one of Hitchcock's best films, made while he was at the peak of his career in the bracket formed with THE MAN WHO KNEW TOO MUCH and MARNIE. Great supporting performances are all over the map, from Jesse Royce Landis as Grant's mother, James Mason as Phillip Vandamm, Martin Landau as Vandamm's protégée who might be a little more than that, and Leo G Carroll as The Professor. Doreen Lang appears early in the movie as Grant's secretary; she would of course be remembered as the woman who shrieks at Tippi Hedren in THE BIRDS and gets slapped by her as the camera holds itself tight on her face.
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.
📹 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. 📀