North by Northwest

A New York advertising executive (Cary Grant) finds himself in a world of peril after being mistaken for a government agent and accused of murder.

North by Northwest ranks among director Alfred Hitchcock’s finest pictures. Exploring some of his favorite themes, including mistaken identity and fear of the police, he creates a slick, polished thriller that plays to the strengths of his lead, Cary Grant, who comes across not as the everyman we are, but as the everyman we want to be.

It’s an important distinction and goes a long way toward explaining the film’s enduring popularity. This is an escapist fantasy of the highest degree, but one that manages to maintain its credibility throughout, thanks in large part to Grant’s immense charm.

Ernest Lehman’s script segues seamlessly between taunt thriller, grand adventure, and quiet romance, all peppered with great dialog. Further, in James Mason’s Phillip Vandamm, Lehman lays the foundation for the cultured, debonair villain that Alan Rickman would later perfect in Die Hard. Indeed, you could almost imagine Mason’s character as Rickman’s character’s father.

Ultimately, it’s almost impossible to find any fault with North by Northwest. In many ways, it represents the epitome of the style Hitchcock’s best known for: the glossy thriller. It also served as one of star Cary Grant’s most memorable roles, as he doesn’t so much play a character, as he does the Cary Grant persona, which Hitchcock and Lehman exploit marvelously. For those that haven’t seen the film, go watch it now.