Stars: **** out of Four
Summary: Inspiring sequences in later classics such as ‘Raiders of the Lost Ark’, this gripping spy thriller delivers visuals and style way ahead of its time.
The film is a prequel to 'Cloverfield', with giant stone presidents chasing Cary Grant. No, really, I swear!
Review: Before James Bond hit the screen for the first time in ‘Dr. No’, Alfred Hitchcock created a master work that would serve to define the espionage genre as we know it. The producers of ‘Dr. No’ would later incorporate elements borrowed from this film in their Bond sequel, ‘From Russia with Love’, a classic in its own right.
Cary Grant stars as an advertising executive named Roger Thornhill, wrongly identified as a government agent, and later framed for murder. Forced to run from both the authorities and the mysterious Vandamm (played brilliantly by James Mason), he ends up romantically entangled with a beautiful woman he meets on a train. Things are never as they seem, of course, and the constant threats keep the audience on its toes. The blend of humor with danger, often in elaborate set pieces, would be imitated for years to come, but rarely equalled or surpassed.
The cinematography, though still marked by its era, was a foray into brand new techniques. The tracking shots, crane shots, and the use of matte paintings for scale are all still impressive today.
Married with the cinematography is film legend Bernard Herrmann’s suspenseful score. The motifs used by Herrmann would later be adopted by John Williams for ‘Jaws’, and numerous other pictures. Not only is the score suspenseful, it is very memorable, which also is echoed by Williams’ talent for composition. In a way, this gives the film a ‘proto-Spielberg’ feel.
The film’s themes are classic Hitchcock. The case of mistaken identity, also evident in ‘The 39 Steps’ and ‘The Wrong Man’, serves as the main McGuffin (device that drives the plot), with a non-descript microfilm containing “government secrets” as a second. Unlike other Hitchcock classics, there is very little subtext or symbolism. It is more or less a straightforward adventure.
The romantic subplot, as was typical with Hitchcock, uses innuendo to border on the edge of risque. The sexual material remains subdued, however, there is no nudity or direct indication of coitus (until the last scene, between a married couple). None of this feels forced or over the top, except for maybe a small tongue-in-cheek element, and the dialog serves as a bridge for the characters rather than lowbrow titillation for the audience. I thought it was handled tastefully and quite well.
The other film that springs to mind the most when I think of ‘North by Northwest’ is ‘Raiders of the Lost Ark’. There are a lot of stylistic similarities. It is very evident to me that the young Spielberg drew inspiration from Hitchcock. Both ‘Jaws’ and ‘Raiders’ reflect the tone of this film, in writing, cinematography, music, and action. Humorously, ‘North by Northwest’ contains the earliest instance I’ve seen of the cliched man-running-from-explosion shot, and it is by leaps and bounds more effective here than anywhere else!
This is, without a doubt, a very fun spy thriller. It’s not a very deep movie, there isn’t a lot of action, and the pace is determined but fairly sedate. It doesn’t make the mistake of taking itself too seriously.
I definitely recommend this film to fans of adventure movies, especially the James Bond and Indiana Jones series. They owe a lot to Hitchcock and his crew’s genius, and this film is definitely one of my all-time favorites.