7.9/10. Whenever I watch classic films, I cannot help but think about “The Citizen Kane Effect” – the idea that venerated works of art can seem ho-hum to a modern-day viewer because their innovations that wowed contemporary audiences have become commonplace. And I also think about my friend and film critic Andy Roth’s response that the term was inapt, because even apart from its many innovations, *Citizen Kane* was a sound, well-crafted bit of storytelling.

That’s where I am with *North by Northwest* one of the most lauded films in cinema history that inhabits the rarified are of the silver screen’s Great Works. And yet, in an era of film where a series of dramatic twists and regular joes getting mixed up in the extraordinary in a movie have become commonplace, if not tired tropes, *North by Northwest* certainly still seems good to a modern viewer, or at least this modern viewer, but for a film with such a pedigree, it can no longer wow. That’s no sin for anything but the best-regarded films.

And yet, to Mr. Roth’s point, even stripped of that pedigree, and the expectations that come with, *North by Northwest* is a thoroughly well-made film, with good pacing, thrilling set pieces, heightened intrigue, and twists and turns to recontextualize events and reenergize the proceedings as necessary. The film is flawless, not in the sense that it is perfect or exceptional, but in the sense that there’s little, if anything, to point to that *North by Northwest* does poorly. It just doesn’t inspire much passion in an era littered with imitators of the film’s imitators.

But what does stand out, even half a century later when green screens and CGI have allowed directors of photography to depict anything you can imagine, is the visual virtuosity that Hitchcock puts on display. The cornfield scene in *North by Northwest* is iconic for a reason, but beyond the action and the drama is the imagery that conveys it. The way Hitchcock and cinematographer Robert Burks play with perspective, using grand sweeping shots of the plane in the distance looming larger and more ominous with each pass, the way the frame is blanketed in white at the same time the protagonist is, and the dramatic cuts as Thornhill flags down a doomed tanker serves to create an exhilarating scene that communicates the stakes and the danger of the moment without the tools of modern day filmmaking.

That also speaks to the fim’s (and one of Hitchcock’s) greatest strengths -- the ability to create mood. The viewer feels Thornhill’s paranoia as he’s thrust into a case of mistaken identity, feeling bewildered and overwhelmed at the threats, espionage, and intrigue unfurling around him at an ever-increasing pace. The final setpiece, with the cat and mouse game set at Mount Rushmore, uses that setting and the score, not to mention the way the action is framed, to create an ongoing tension and drama throughout. And The scenes between Thornhill and Eve Kendall evoke a charged passion, coupled with playfulness, that emerges between two people on the run, each not really knowing whether they can trust the other.

The love story between them is odd by modern standards, but works for the film’s purposes. Considering the compressed timeline of the film, their romance happens very quickly, and their back-and-forth banter is left to do the heavy lifting when mood doesn’t suffice. That banter vacillates between charm and cheese. Still, it fits the story and the surroundings, and it’s a reminder how the Tarantinos, Sorkins, and Whedons of the modern day were, at least to some degree, following the classic blueprint for stylized dialogue with their trademark forms of patter.

Beyond the dialogue, *North by Northwest* is an extremely well-written film in terms of its story, pacing, and plot. Each of the reveals have their seeds planted early, to where when the twists come, it’s an “aha” moment rather than a “huh?” moment. That’s what distinguishes the film from the many movies today, particularly blockbusters, that traffic in the same sort of secret identity and mystery box storytelling. While several films include a twist for twists sake, meant to allow the picture to coast on the shock of the reveal alone, *North by Northwest* takes the time to set up the important details and hints at the truth, so that when everything falls into place, it feels like a natural extension of what’s come before rather than a radical shift out of nowhere.

The only problem, relative to other movies in Hitchcock’s filmography, is that *North by Northwest* isn’t really *about* anything. It’s simply a well-plotted thrillride, which is the sort of faint praise one might wish to be damned with. There are hints here and there at a larger point. If there is a theme to the film, it’s that ordinary men can accomplish extraordinary things, particularly when they are motivated by love (or, if you’re a cynic, lust).

When we meet Roger Thornhill, is a smooth-talking gentleman, twice divorced, who seems no sooner to become embroiled in the world of spooks and spies than he does to become an astronaut. But when accidentally embroiled in this near-fatal misunderstanding, he answers the call, and in the process, finds talents, and a partner who appreciates them, that seemed to elude him before.

For the most part though, that’s window dressing on an exciting adventure that slowly unspools with enough dramatic twists to keep things humming. That’s no crime. If the most a movie can boast is that it entertains the audience, has a tightly-written screenplay, and enough character moments to make its grand set pieces have impact beyond the spectacle of them, it’s doing quite alright. *North by Northwest* only suffers for being a part of the canon, that ineffable signifier of greatness that tells latter-day audiences what they’re watching is supposed to be a knock-your-socks-off masterpiece, leaving many of them, myself included, mildly disappointed at a film that is simply great rather than transcendent. Somehow, I don’t think Hitchcock would cry many tears over that assessment.

North by Northwest is more than a film; it's a masterclass in cinema that showcases Alfred Hitchcock's unparalleled ability to merge narrative innovation with visual spectacle. This cinematic cornerstone intricately weaves suspense, romance, and wit into a narrative that captivates and challenges audiences, contending for the title of Hitchcock's magnum opus alongside Rear Window, Vertigo, and Psycho.

Ernest Lehman's masterfully crafted screenplay keeps viewers engaged, inviting them to unravel the mystery alongside the protagonist, Cary Grant's Roger Thornhill. Grant's portrayal is nothing short of iconic, bringing the necessary charm and sophistication to make his character's extraordinary predicament deeply engaging. As Thornhill finds himself embroiled in a web of espionage and danger due to mistaken identity, the film navigates through its complex narrative with a gripping pace that defines Hitchcock's oeuvre.

Eva Marie Saint, as Eve Kendall, adds depth and intrigue, and her performance weaves complexity and allure into the fabric of the story. The cinematography, especially notable in sequences like the crop-dusting plane attack and the Mount Rushmore chase, demonstrates Hitchcock's genius in uniting narrative with visual storytelling to create indelible cinematic moments.

Reflecting on the film within the context of its 1959 release, it's clear that audiences witnessing it for the first time would have been treated to an experience unrivaled in its originality, deserving a 10/10 rating. The innovative plot twists, the breathtaking cinematography, and the seamless blend of suspense and romance were revolutionary, setting a standard for thrillers that would follow.

However, viewing North by Northwest for the first time in 2024, one's initial impressions cannot escape being somewhat diluted by exposure to the endless iterations and homages this Hitchcock masterpiece has inspired over the decades. The film's influence is so pervasive in the thriller genre that modern audiences might find its once revolutionary elements familiar, if not somewhat anticipated.

Yet, this does not diminish the film's status as a seminal work of art. Reflecting on North by Northwest, the portrayal of the world in 1959 offers a fascinating glimpse into the era's aesthetics and societal norms. This serves as a captivating window into the past and underscores the film's timeless appeal, showcasing Hitchcock's genius in creating a narrative that resonates across generations.

In conclusion, while the impact of North by Northwest may be tempered by the passage of time and the evolution of the genre it helped define, its sophistication, suspense, and humor remain potent, proving that Hitchcock's vision continues to enthral and inspire. It stands as a monumental achievement, a testament to storytelling's power, and a vibrant snapshot of 1959, captivating in its time and enduring in its legacy.

2024 First Watch Rating: 8/10

Rewatchable? Absolutely. While the initial shock of its innovations may be softened by familiarity, the depth of its artistry and the joy of its execution invite us back, time and again, to marvel at Hitchcock's masterful creation. North by Northwest remains a luminous beacon in film history, its legacy as captivating now as it was at its inception.

Sometimes the truth does taste like a mouthful of worms.

Roger O Thornhill is a harmless and amiable advertising executive who is absurdly mistaken for a government agent by a gang of ruthless spies. Forced to go out on the lam, Thornhill lurches from one perilous scenario to another. Can he survive to prove his innocence? Is the gorgeous blonde who is helping him really a friend? All will be revealed in Alfred Hitchcock's majestic thriller.

If deconstructing it you find that this isn't a perfect Hitchcock movie, for it under uses James Mason's coolly vile Phillip Vandamm (which is a crime), and it also doesn't have a female lead acting with any great urgency since Eva Marie Saint as Eve Kendall fails to fully fulfil the promise of Kendall's arrival in the movie. Yet this film rightly earns the right to be on any critics top 100 list, to be a favourite amongst the legion of Hitchcock fans (of which I'm one of that number), for it is escapist entertainment in its purest form, Hitchcock's most accessible popcorn entertainment piece.

From the moment at the film's opening when you hear Bernard Herrmann's wonderful music, it's enough to send goose pimples all over the body. For it is a musical portent that signifies we are about to get a fusion of thrills, mystery, and some cheeky Hitchcock humour, accompanied by heroes and villains all condensed purely for our enjoyment. Fronted by a diamond Cary Grant performance as the man wrongly mistaken for another that leads to him being pursued frighteningly across the states, the pic is never found wanting for genre high points. Coming as it did after the darkly brilliant and soul sapping Vertigo, Hitchcock clearly wanted to hang loose and enjoy himself.

Working from a fabulous script by Ernest Lehman, North By Northwest's very reason for being is purely to entertain those wanting to invest a frame of mind with it, with Hitchcock cunningly putting us on side with what is ultimately a shallow character in Grant's Roger O (the O doesn't stand for anything) Thornhill. It's a neat trick from the master of trickery and devilment. Some of the scenes on show are now almost folk lore such is the esteem in which they are held by movie fans and makers alike. A crop dusting aeroplane attack (the prelude to which has those goose pimples popping up in anticipation), a pursuit on Mount Rushmore and the often forgotten drunk car on a cliff sequence, these are all trade mark pieces of work from Hitchcock.

North By Northwest is in my humble opinion one of the true greats of cinema history, where as bleak and as unnervingly brilliant as Vertigo was the previous year, this is the polar opposite in structure and fable, but the result is most definitely equally as great. One of the reasons I fell in love with cinema in fact. 10/10

***It has its points of interest, but any 60’s Bond flick is a better choice***

When an ad executive in Manhattan (Gary Cooper) is mistaken for a government agent by a foreign spy & his cronies (James Mason, et al.) he finds himself a fugitive traveling by train to Chicago wherein he meets a woman that seems to have his favor (Eva Marie Saint). After a curious encounter with a crop dusting plane everything culminates at Mount Rushmore, South Dakota.

"North by Northwest" (1959) is an adventure/thriller by Hitchcock with a huge reputation. It obviously influenced the James Bond flicks of the 60s, which started three years later with “Dr. No” (1960), but it’s very toned down by comparison because the hero in this case is not a trained spy (Cooper). It’s entertaining to a point, but also seriously overrated due to some glaring problems…

Jessie Royce Landis plays the protagonist’s mother when she was only a little over 7 years older than Cooper and it’s too obvious; the story drags too much at this point (when he’s hanging out with his mother); his chance meeting with a key character on the train (Saint) is too coincidental; their make-out sessions are premature, unconvincing and painfully dull; the crop dusting encounter supposedly takes place in rural Indiana when it’s clear that it’s nowhere within a thousand miles of Indiana (actually it was shot at the southern end of Central Valley, California, outside of Bakersfield); speaking of which, the geography is too noticeably disingenuous: e.g. during the drunk driving episode there are no cliffs like that on Long Island (it was actually shot at Potrero Valley, Thousand Oaks, CA, and obviously so).

Still, there’s enough good here to enjoy if you favor Hitchcock & the cast and don’t mind quaint movies.

The film runs 2 hours, 15 minutes (unnecessarily overlong).

GRADE: B-/C+

Hitchcock is one of my favorite directors (like that's uncommon) because he is so unorthodox in both his storytelling and in his use and positioning of his camera. Everything he made has something in it that makes it special or even unusual. This is probably one of his more pedestrian looking films, but there's still plenty of visual wonders scattered about.

This plays like an early Bond to me. Cary Grant is smooth as silk even though he's learning the spy game as he goes. He's got a quip for any situation. Eva Marie Saint isn't my favorite Hitchcock blonde, but she's still a good one. I love the cropduster scene. What a great use of sound and never has a farm field looked so panoramic.

This is an exciting early action movie. The only thing that drags down my personal rating is the final chase scene on Mt. Rushmore. It isn't really that gripping and it even meanders. The final moment of the film is jarring but in the happiest way possible.

"North By Northwest" is another example of an older film that I wish could be given the opportunity to be viewed by today's younger audiences. How is it possible not to think Cary Grant's Roger Thornhill is one of the coolest men to ever glide across a screen?