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. Written by
During their escape, Roger says to Eve, "I see you've got the pumpkin," meaning Vandamm's statue containing microfilm. The line references the 1948 Alger Hiss case, in which Whittaker Chambers led federal agents to government microfilms, allegedly supplied to him by Hiss, that Chambers had hidden in a pumpkin on his farm. See more »
When Thornhill is photographed at the United Nations with the knife in his left hand, Thornhill holds a picture of Vandamm in his right hand. Later, this incriminating photo of Thornhill is seen in the possession of the the ticket seller, with Thornhill holding the knife in his left hand but with his right hand empty. See more »
I want you to do a favor for me. A big, big favor.
I want you to leave right now, stay far away from me, and don't come near me again. We're not going to get involved. Last night was last night, and it's all there was, and it's all there is. There isn't going to be anything more between us. So please. Goodbye, good luck, no conversation, just leave.
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The Leo the Lion/MGM trademark preceding the credits is on a green field, to match the green field used in the credits proper. See more »
I've Grown Accustomed to Her Face
Music by Frederick Loewe
Lyrics by Alan Jay Lerner
Portion sung by Cary Grant (as "I've Grown Accustomed to Your Bourbon") as he's being seated behind the wheel of the Mercedes while drunk See more »
From The Master of Suspense Came the Daddy of the Modern Adventure Thrillers
Many feel this is Alfred Hitchcock's greatest American movie, and I agree! NORTH BY NORTHWEST is the Hitchcock film to end all Hitch films, with all his pet themes covered with maximum wit, panache, and suspense, as well as a romance between Cary Grant and a soignée Eva Marie Saint that's as tender as it is sexy. Grant has never been more engaging and dashing (literally and figuratively :-), though the smoothly villainous James Mason nearly out-suaves him. My husband and I have joked that if Mason had played Thornhill, the film would have been over in mere moments. With all due respect to Grant, if the imperious, unshakably confident Mason asked the Glen Cove police, "Do you honestly believe that this happened the way you think it did?" they would immediately reply, "No, sir, you must be right, you're free to go, sorry we bothered you." :-) Also boasts a great early performance by a reptilian young Martin Landau as Mason's possessive henchman, as well as one of Oscar nominee Ernest Lehman's best screenplays (in fact, he borrowed liberally from it for his script for the film version of THE PRIZE starring Paul Newman) and one of Bernard Herrmann's finest scores. Anybody who wants to write or direct a chase thriller should watch NORTH BY NORTHWEST first to see how it's done!
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