Image Unavailable
Color:
-
-
-
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
North by Northwest (50th Anniversary Edition in Blu-ray Book Packaging)
Learn more
| Additional Multi-Format options | Edition | Discs | Price | New from | Used from |
|
Multi-Format
January 10, 2012 "Please retry" | New Package ed. | 1 | $21.40 | $9.40 |
Watch Instantly with
| Rent | Buy |
Enhance your purchase
| Genre | Drama, Mystery & Suspense |
| Format | Multiple Formats, Blu-ray, AC-3, Color, Dolby, Subtitled, Widescreen, Dubbed |
| Contributor | Eva Marie Saint, Alfred Hitchcock, Cary Grant, Martin Landau, James Mason |
| Language | English |
| Runtime | 2 hours and 16 minutes |
Frequently bought together

Customers who viewed this item also viewed
Product Description
Product Description
North By Northwest (Blu-Ray Book) Cary Grant teams with director Alfred Hitchcock for the fourth and final time in this superlative espionage caper judged one of the American Film Institute's Top-100 American Films and spruced up with a new digital transfer and remixed Dolby Digital Stereo. Grant plays a Manhattan advertising executive plunged into a realm of spy (James Mason) and counterspy (Eva Marie Saint) and variously abducted, framed for murder, chased and in another signature set piece, crop-dusted. He also holds on for dear life from the facial features of the Presidents on Mount Rushmore (backlot sets were used). But don't expect the Master of Suspense to leave star or audience hanging.
Amazon.com
A strong candidate for the most sheerly entertaining and enjoyable movie ever made by a Hollywood studio (with Citizen Kane, Only Angels Have Wings and Trouble in Paradise running neck and neck). Positioned between the much heavier and more profoundly disturbing Vertigo (1958) and the stark horror of Psycho (1960), North by Northwest (1959) is Alfred Hitchcock at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances. Which is not to say that this is just "Hitchcock Lite"; seminal Hitchcock critic Robin Wood (in his book Hitchcock's Films Revisited) makes an airtight case for this glossy MGM production as one of The Master's "unbroken series of masterpieces from Vertigo to Marnie." It's a classic Hitchcock Wrong Man scenario: Grant is Roger O. Thornhill (initials ROT), an advertising executive who is mistaken by enemy spies for a U.S. undercover agent named George Kaplan. Convinced these sinister fellows (James Mason as the boss, and Martin Landau as his henchman) are trying to kill him, Roger flees and meets a sexy Stranger on a Train (Eva Marie Saint), with whom he engages in one of the longest, most convolutedly choreographed kisses in screen history. And, of course, there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield (where a pedestrian has no place to hide), and the cliffhanger finale atop the stone faces of Mount Rushmore. Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score. What more could a moviegoer possibly desire?--Jim Emerson
Also on the Blu-ray disc
North by Northwest is a great-looking Blu-ray disc, with a sharpness and colors that seem like you're watching the film for the first time. New on the 50th anniversary edition are a one-hour documentary on Hitchcock's work "The Master's Touch: Hitchcock's Signature Style," and a shorter one (25 min.) specifically about the film, "North by Northwest: One for the Ages." It's packaged in one of Warner's Blu-ray books, with trivia, character profiles, and stills and vintage art. Older extras include screenwriter Ernest Lehman's commentary track, a 90-minute profile of star Cary Grant, the documentary from 2000 "Destination Hitchcock: The Making of North by Northwest" hosted by Eva Marie-Saint, a music-only audio track, and theatrical trailers. --David Horiuchi
Stills from North by Northwest (Click for larger image; not Blu-ray screen-captures)
Product details
- Aspect Ratio : 1.78:1
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Package Dimensions : 7 x 5.6 x 0.5 inches; 4 Ounces
- Director : Alfred Hitchcock
- Media Format : Multiple Formats, Blu-ray, AC-3, Color, Dolby, Subtitled, Widescreen, Dubbed
- Run time : 2 hours and 16 minutes
- Release date : November 3, 2009
- Actors : Cary Grant, Eva Marie Saint, James Mason, Martin Landau
- Subtitles: : English, French, German, Italian, Portuguese, Spanish, Danish, Finnish, Norwegian, Swedish
- Language : English (Dolby Digital 5.1), Italian (Dolby Digital 1.0), Portuguese (Dolby Digital 1.0), German (Dolby Digital 1.0), French (Dolby Digital 1.0), Spanish (Dolby Digital 1.0), English (Dolby TrueHD 5.1)
- Studio : WarnerBrothers
- ASIN : B0017HMF6W
- Number of discs : 1
- Best Sellers Rank: #90,818 in Movies & TV (See Top 100 in Movies & TV)
- #1,913 in Mystery & Thrillers (Movies & TV)
- #5,941 in Drama Blu-ray Discs
- Customer Reviews:
Videos
Videos for this product

1:39
Click to play video

North by Northwest: Airplane Scene
Merchant Video
Videos for this product

3:25
Click to play video

North by Northwest trailer
Merchant Video
Videos for this product

1:33
Click to play video

North by Northwest: Comedic Appeal
Merchant Video
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonReviewed in the United States on June 25, 2012
-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
A masterful mix of comedy and suspense from Alfred Hitchcock. Advertising executive Roger Thornhill [Cary Grant] is lunching in a restaurant with his mother when he mistakenly answers a page for one George Kaplan. He soon finds himself on the run across the country, being pursued by enemies of the government who are convinced that he is a secret agent. He finds a friend in Eve Kendall [Eve Marie Saint], who helps conceal him during a perilous train journey, but soon discovers that she is not all she seems.
FILM FACT: `North by Northwest' was nominated for three awards at the 32nd Academy Awards® Ceremony for Best Film Editing for George Tomasini. Best Production Design for William A. Horning, Robert F. Boyle, Merrill Pye, Henry Grace, Frank McKelvy. Best Original Screenplay for Ernest Lehman. This is one of several Alfred Hitchcock films with a music score by Bernard Herrmann and features a memorable opening title sequence by graphic designer Saul Bass. This film is generally cited as the first to feature extended use of kinetic typography [the technical name for "moving text"] in its opening credits. Alfred Hitchcock's cameo appearances are a signature occurrence in most of his films. In ‘North by Northwest,’ he is seen getting a bus door slammed in his face, literally just as his credit is appearing on the screen.
Cast: 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, John Berardino (uncredited), Edward Binns, Ken Lynch, Malcolm Atterbury (uncredited), Tol Avery (uncredited), John Beradino (uncredited), Ned Glass (uncredited), Doreen Lang (uncredited), Nora Marlowe (uncredited) and Alfred Hitchcock (uncredited)
Director: Alfred Hitchcock
Producers: Alfred Hitchcock (uncredited) and Herbert Coleman
Screenplay: Ernest Lehman
Composer: Bernard Herrmann
Cinematography: Robert Burks
Video Resolution: 1080p [Technicolor]
Aspect Ratio: 1.78:1 [VistaVision]
Audio: English: 5.1 Dolby TrueHD, French: Dolby Digital Mono, German: Dolby Digital Mono, Italian: Dolby Digital Mono, Spanish: Dolby Digital Mono, Portuguese: Dolby Digital Mono. Isolated Music only track: 5.1 Dolby Digital
Subtitles: English SDH, French, German SDH, Italian, Italian SDH, Castellano, Spanish, Portuguese, Danish, Suomi, Norwegian and Swedish
Running Time: 136 minutes
Region: All Regions
Number of discs: 1
Studio: Warner Home Video
Andrew's Blu-ray Review: "I want to do a Hitchcock picture to end all Hitchcock pictures" is the comment screenwriter Ernest Lehman made to Alfred Hitchcock one day in 1957. With ‘North by Northwest’ [1959] the ultimate Alfred Hitchcock picture is exactly what they produced. All of Alfred Hitchcock's trademark themes are here in the story of an everyday man [Cary Grant] caught up in a swirl of mysterious events like spies and chasing microfilm, while being helped by a beautiful blonde [Eva Marie Saint]. There's a gripping, imaginative chase scene and the entire film wraps up at an unexpected public landmark like Mount Rushmore.
‘North by Northwest’ came into existence when Alfred Hitchcock and writer Ernest Lehman hit a brick wall while working on the nautical thriller, ‘The Wreck of the Mary Deare’ [1959] [Metrocolor and in CinemaScope]. They messed around for a few weeks while telling the studio the project was going great until one day Lehman thought of creating a pure Alfred Hitchcock film. The director could never resist a challenge and immediately clicked with the idea, especially since he'd longed to use Mount Rushmore as a location but never had an appropriate project. So while Alfred Hitchcock was filming ‘Vertigo’ [1958] the two would get together and thrash out the script and further plans for a film that was then called In a Northwesterly Direction. Oddly enough it was also briefly entitled ‘Breathless’ which a year later would be the English title of the debut feature from Jean-Luc Godard, a massive Alfred Hitchcock fan. The resulting screenplay was tight, balanced and intricate; Alfred Hitchcock later told Francois Truffaut that "In this picture nothing was left to chance." The script also made liberal use of the MacGuffin, Alfred Hitchcock's name for a device that keeps the story in motion even though in itself it's practically meaningless. The key MacGuffin in ‘North by Northwest’ is the secret information sought by James Mason's sinister operation even though we never learn why it matters. This was Alfred Hitchcock's personal favourite, one he said had "been boiled down to its purest expression: nothing at all!"
From the beginning, Alfred Hitchcock and Ernest Lehman planned on casting Cary Grant as their innocent leading man even though James Stewart showed extreme interest in the project despite his ignorance of the plot. Thanks to Cary Grant's contractual percentages and a daily pay rate that kicked in when the film took longer than expected for completion, the actor made quite a bit of money from his participation in ‘North by Northwest.’ It was his fourth and final Hitchcock film and Cary Grant brought his usual debonair charm and a genuine sense of confusion and bewilderment to the part. During shooting Cary Grant said to Alfred Hitchcock, "It's a terrible script. We've already done a third of the picture and I still can't make head or tail of it." The comment greatly amused Alfred Hitchcock because, far from being a flaw, that exactly mirrored what Cary Grant's character was feeling as well.
For the role of the woman spy there was some minor conflict. Cary Grant pushed to have Sophia Loren because he at one time had romantic interest in her but she left to film ‘Two Women’ in Italy, but the studio wanted Cyd Charisse. Alfred Hitchcock of course preferred one of his trademark blondes and gave the part to Eva Marie Saint ‘On the Waterfront,’ even personally picking out most of her on-screen wardrobe. By the way, see if you can read Eva Marie Saint's lips during her line "I never discuss love on an empty stomach" since the audio was supposedly dubbed over the original line "I never make love on an empty stomach."
While the story covers a wide span of the United States, filming was mostly brief location shots and extensive studio work. Alfred Hitchcock and cast started in New York in August 1958. A hidden camera was used to film Grant entering the United Nations building but they weren't able to film in the real UN lobby because it had been used somewhat inappropriately in an earlier film so all films were forbidden there. Instead they filmed on a studio set that had been recreated as accurately as possible. Alfred Hitchcock had gone through the real lobby with a still photographer while pretending to be a tourist and getting numerous snapshots. The director ran into a similar problem at Mount Rushmore. The Department of Interior, which operates the monument and not only wouldn't allow filming on the actual sculpture but they also wouldn't give permission for actors to crawl over a reproduction either. A compromise was reached where the actors went between the faces instead of over them, but except for a few exteriors the whole Mount Rushmore scene was filmed at the M-G-M studios. Perhaps it's a good thing that Alfred Hitchcock gave up his plan to have one of the characters erupt in a sneezing fit while hiding in a statue nose.
The famous scene where Cary Grant being chased through a cornfield by a crop duster is an example of Hitchcock at his best. It came about because he had noticed that when most directors try to make a suspenseful scene they use tight alleyways, shadows barely visible through the gloom and the slow building tension of the approaching menace. So Alfred Hitchcock did exactly the opposite, filming in full daylight, completely open space and a very fast machine. Similarly, most directors gradually shorten each individual shot in such a scene as a way of increasing the tension, but Hitchcock kept his shots fairly uniform so that a viewer gets a better idea of how far and where Cary Grant is running. The finished scene lasts around seven minutes with no dialogue and is as remarkable as the shower scene he devised for ‘Psycho’ a year later. The studio, however, wasn't quite so appreciative. They wanted to cut the film thinking that at 136 minutes it was too long. But Alfred Hitchcock's contract prevented that, and he insisted that some of what they were trying to cut was in fact vital to the film.
Cary Grant, a veteran member of the Alfred Hitchcock acting varsity, was never more at home than in this role of the advertising-man-on-the-lam. He handles the grimaces, the surprised look, the quick smile, the aforementioned spooning and all the derring-do with professional aplomb and grace. In casting Eva Marie Saint as his romantic vis-à-vis, and Alfred Hitchcock has plumbed some talents not shown by the actress here before. Although she is seemingly a hard, designing type, she also emerges both the sweet heroine and a glamorous charmer. Jessie Royce Landis contributes a few genuinely humorous scenes as Mr. Grant's slightly addle-pated mother. James Mason is properly sinister as the leader at the spy ring, as are Martin Landau, Adam Williams, Robert Ellenstein and Josephine Hutchinson, as members of his malevolent troupe. And Leo G. Carroll is satisfyingly bland and calm as the studious intelligence chief.
Overall, ‘North by Northwest’ receives my high marks in numerous ways and gives us a “colourful and exciting route for spies, counterspies and lovers.” Part of this “colourful and exciting route” can be explained through the cross-cutting technique. In nearly all of the suspenseful scenes, including the drunken car chase, the police chase in the train station, and the climatic Mount Rushmore scene, the rapid scene change from Mr. Roger Thornhill to those in pursuit creates a heightened level of suspense. I also found the rapid pace of North by Northwest to be extremely engaging. Nearly every scene, the viewer is learning more about the truth behind Roger Thornhill. Each scene provides a small piece of evidence and the pace of the film made me eager to learn about the next clue. ‘North by Northwest’ is an engaging film that combines a wide range of genres ranging from suspense to humour. The continuity techniques of establishing shots, reverse shots, and match editing allows the viewers to experience a suspenseful, yet smooth story. The importance of each scene keeps the viewer engaged in all of the details. The constant feeling of suspense, as well as using both continuity and discontinuity techniques made ‘North by Northwest’ is an extremely suspenseful and worthwhile experience.
Blu-ray Video Quality – When Warner Home Video released 'North by Northwest' on the inferior DVD format in 2000, it instantly became one of the preeminent classic film transfers of the digital age, so expectations were understandably sky-high when the company announced a Blu-ray edition of Alfred Hitchcock's iconic chase film earlier this year. The restoration price tag reportedly topped $1 million, but it was money very well spent, as 'North by Northwest' comes closer to achieving perfection than any other 1080p classic film transfer I've seen. The 50-year-old film looks so good; in fact, it puts many recent Blu-ray releases to shame. Shot in VistaVision, which was a short-lived, higher resolution widescreen process developed by Paramount in the mid-1950s. 'North by Northwest' is a natural for a Blu-ray makeover, and its exquisitely balanced colour and contrast, along with its fine grain structure, which is a VistaVision staple, produces a very crisp, dimensional, utterly pleasing viewing experience. Grain-haters will no doubt rhapsodise over the picture's sleek appearance, but the 1080p encoded image never looks processed or digitally smoothed. A palpable filmic feel still prevails, and though a few brief scenes sport a hint more grain than most, the levels never seem out of whack. The transfer's quality is evident from the film's opening frames. The fluorescent green background, over which the credits roll, is solid and vibrant, and as it gradually dissolves into the glass façade of a skyscraper reflecting Manhattan's teeming cityscape, the level of detail is striking. It is a very tricky shot, and flawlessly rendered. Background accents are always razor sharp, so whether Cary Grant is navigating the Big Apple's jammed sidewalks, a dense Indiana cornfield, or the face of Mount Rushmore, the image is always packed with information, and its depth and dimension easily immerse us in the on-screen action. Alfred Hitchcock also employs a hefty amount of rear projection work, one of his few shortcomings, in my opinion, and though it's always apparent, it's well integrated into the whole. Colour-wise, primaries pop, but never look synthetic or overly saturated, and though the film's palette often emits a sterile coolness, enough warmth permeates the picture to keep its temperature in check. Cary Grant's heavily tanned skin rivals that of George Hamilton, yet it still appears natural, as do all flesh tones. Blacks are deliciously inky, but no incidents of crush drown out shadow detail. Close-ups are strong, despite the stylistic use of filters to shave a few years off Cary Grant's age and soften Eva Marie Saint's facial features and textures, such as the weave of various suits, wall coverings, leather upholstery, even the coarse hair on Cary Grant's knuckles, are clearly discernible. Simply put, this is a stunning gorgeous 100% effort that perfectly represents this Alfred Hitchcock masterwork. Once again, Warner Bros. proves just how brilliant classic films can look on Blu-ray, and this impeccable transfer more than whets our appetite for the riches yet to come.
Blu-ray Audio Quality – The 5.1 Dolby TrueHD soundtrack is a fine upgrade from the DVD's previous 5.1 Dolby Digital audio, but doesn't quite achieve the same wow factor as the video. First of all, don't be afraid to pump up the volume; I found the track to be surprisingly quiet at first, yet after two or three sizeable increases above my normal settings, I finally reached a comfortable listening level. Warner Bros. TrueHD classic film tracks always seem to be mixed a little on the soft side, but handle augmented volume extremely well. Surround sound elements are understandably faint throughout most of the film, but boy do those rears come alive during the crop-dusting sequence, as the plane makes its dipping and diving passes over Cary Grant, the cornfield, and my living room sofa. (It's hard to imagine a 50-year-old film competing sonically with today's action epics, but 'North by Northwest' tries its best during this one classic scene.) When the surrounds are silent, the front channels pick up the slack with some distinct stereo separation that lends the audio welcome scope. Dialogue is well prioritised and always easy to understand, even when spoken in hushed tones, and Bernard Herrmann's highly recognizable score sounds terrific. Though it doesn't wrap around us as much as we'd like, its fullness of tone and enhanced fidelity make almost every instrument distinguishable. The screeching strings always resist distortion, and the low-end horns and percussion lend great weight to select scenes. For those who truly want to experience and revel in Bernard Herrmann's marvellous score, a music-only track can be accessed through the disc's special features. Details are always crisply rendered, from the subtle use of hedge-clippers early in the film to the gravel beneath Cary Grant's shoes as he shuffles his feet while awaiting the crop-duster's surprise attack. And the one big bass moment doesn't disappoint, as the subwoofer pumps out a hefty rumble during a memorable crash and subsequent explosion. Best of all, the track is as clean as a whistle, with no errant pops, static, or hiss betraying the film's advanced age and of course sound is an essential Hitchcockian element, and the superior audio on this disc does the film proud. So all in all Warner Home Video have done a sterling work all round.
Blu-ray Special Features and Extras:
Audio Commentary: Commentary by Screenwriter Ernest Lehman: The late screenwriter Ernest Lehman was a very sprightly 84 years old when he sat down to record this commentary in 2000, and his crystal clear memories of his close collaboration with Hitchcock and detailed chronicle of the creative process behind penning the 'North by Northwest' script make for a fascinating listen. He also recalls how composer Bernard Herrmann introduced him to Hitchcock, how he and the director hoodwinked M-G-M into letting them develop 'North by Northwest' instead of work on a previously arranged project, and how he visited all the various locales prior to writing and that included climbing halfway up the face of Mount Rushmore! Ernest Lehman starts slowly, but after 20 minutes or so picks up steam, and his insights will enlighten even diehard Alfred Hitchcock fans.
Special Feature Documentary: Cary Grant: A Class Apart [2004] [480i] [87:12] This was originally broadcast on the PBS channel in America, as part of the network's acclaimed 'American Masters' series, this incisive and interesting documentary and previously included in the Cary Grant NTSC DVD Box Set that contains the film 'North by Northwest,' and takes an in-depth look at Cary Grant's screen persona and how it shaped and affected his private life. Reminiscences from close friends, two wives, and noted critics provide fascinating perspective on the actor's professional and personal relationships, his difficult upbringing, stellar work ethic, and underrated talent. Film clips galore, from Cary Grant's first role in 1931 to his last in 1966; illustrate his versatility, magnetism, and iconic style. Though his contributions to cinema dominate this excellent profile, Cary Grant's five marriages, his controversial relationship with fellow actor Randolph Scott, experimentation with LSD, affair with Sophia Loren, and lifelong struggles with intimacy are also explored with integrity and good taste. This is required viewing for anyone with even a passing interest in this beloved Hollywood legend.
Special Feature Documentary: The Master's Touch: Hitchcock's Signature Style [2009] [480i] [57:32] This is a myriad aspects of Alfred Hitchcock's inimitable technique are scrutinised in this probing, well-produced piece that shows how the director's personal idiosyncrasies influenced his work. A host of fellow directors, from Martin Scorsese to John Carpenter, as well as Hitchcock himself, which via an archival interview, with comments on such topics as visual storytelling, subjective point of view, editing, and building suspense. We also learn about the fascinating villains Hitchcock often employed, the sense of humour that pervades his films, his selective use of sound, impeccable sense of style, and, of course, his penchant for blonde heroines. Clips from such classics as 'Dial M for Murder,' 'Strangers on a Train,' 'Stage Fright,' 'The Wrong Man,' 'I Confess,' and 'North by Northwest' illustrate the various points. This top-notch documentary is another must-view that will captivate Alfred Hitchcock junkies and those just discovering the master's work.
Special Feature Documentary: Destination Hitchcock: The Making of North by Northwest [2000] [480i] [39:27] Eva Marie Saint hosts this thoughtful look back at the film's production, which was included on the previous DVD release. Eva Marie Saint takes us through the film's shooting chronologically, and along the way relates personal anecdotes, spills secrets, identifies one notable gaffe, and recalls some on-set buffoonery. Martin Landau, Ernest Lehman, whose remarks on the commentary track were largely, if not totally lifted from his interview here, and Alfred Hitchcock's daughter, Patricia, also share their memories of the director and his technique.
Special Feature Documentary: North by Northwest: One for the Ages [2009] [480i] [25:29] This all-new, absorbing documentary allows directors Curtis Hanson, Francis Lawrence, Guillermo Del Toro, and William Friedkin, along with screenwriter Christopher McQuerrie, the chance to honour, analyse, and dissect this Alfred Hitchcock masterwork. Among other things, the quintet identifies the various classic Alfred Hitchcock elements present in the film, discusses the script's surprising depth, and provides an in-depth examination of the crop-dusting scene.
Special Feature: Stills Gallery [2000] [1080p] [5:52] Forty-three stills in both black-and-white and colour are included in this gallery, which features on-set production shots, a selection of poster art, and photos of notable personalities like Eva Marie Saint, Ernest Lehman, and Patricia Hitchcock, during the shooting of interviews for the NTSC DVD's special feature package.
Special Feature: Theatrical Trailers [480i] [6:00] Includes a TV Spot [480i] [1:02] Plus, in addition to a black-and-white re-release TV spot and full colour re-release trailer, there's this amusing theatrical preview, plus again 'A Guided Tour with Alfred Hitchcock,' in which the master himself hypes 'North by Northwest' as if he were a travel agent hawking a cross-country vacation.
Special Feature: Music-only Track: Presented in 5.1 Dolby Digital, the switch to the track is apparent, lacking much of the sound options smoothness and dynamic range. Though it's somewhat disappointing, the score is such a strong component of the film that in this case there's really not much benefit to the isolated track. Forced to choose between isolation and higher resolution, I recommend the latter.
BONUS: Deluxe Limited Edition DigiBook: This stunning 43-page full-colour DigiBook, contains two short essays, actor, director and screenwriter bios, and lots of great publicity stills, behind-the-scenes photos, and one-sheets.
Finally, Alfred Hitchcock fans rejoice! The master's first American high-definition release hits the ball out of the park. 'North by Northwest' may be 50, but this immortal action-comedy thriller doesn't look or sound anywhere near that old on Blu-ray. Superb video and audio immerse us in Roger Thornhill's desperate, madcap plight, while a fantastic array of extras puts Alfred Hitchcock and Cary Grant, and this wildly entertaining film in their proper perspective. The attractive Deluxe Limited Edition DigiBook packaging adds an extra bit of panache to one of the year's classiest classic releases. One to own and replay it often, as one never gets tired of this Alfred Hitchcock stunning masterpiece. I know a lot of people hate the actor Cary Grant, well I find that totally negative outlook, as he is absolutely superb in this film especially and again this stunning Blu-ray package is outstanding and cannot be beaten and I am so proud to add it is to my Alfred Hitchcock Blu-ray Collection. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom
NXNW is rightly acclaimed as a classic and most definitely still delivers as an engaging and fun relic of its time, abundant in 1959 elegance, style, droll wit, & class. In many ways this (and its Hitchcock/Cary Grant predecessor To Catch a Thief [Blu-ray ]) were truly the first James Bond movies, as becomes glaringly apparent after even casual comparison. Sean Connery's Bond was monumental, but it's just hard to imagine how the entire Bond series would have fared without having the suave, debonair Cary Grant there to blaze the trail as "The Cat" John Robbie in "TCAT" and of course as Roger Thornhill in "NXNW".
Now let's concede up front: you MUST disconnect your plausibility radar and just go along for the ride with NXNW and all its howling impossibilities. Let's not even dig into them too much EXCEPT TO suggest that if you're looking to bump off a rival spy, are you REALLY going to try to lure him onto a dusty Indiana highway and try to puree him with the propeller of a biplane? How does it happen that Thornhill (Grant) and the rival agents (James Mason, Martin Landau, Eva Marie Saint) all wind up on the 20th Century Limited after Thornhill goes on the lam from the UN? For that matter, how likely is it that Thornhill even gets OUT of the UN after getting framed for the murder there? --NEVER MIND! You simply have to surrender to the night-at-the-movies popcorn FUN of it, and enjoy the rollercoaster of thrills, chills, romance & spy intrigue Hitchcock serves up here. Sure, it's easy to chuckle at the stratospheric "suspension of disbelief" necessary to properly enjoy NXNW but really I think it's a deliberate part of the fun and not meant to stand up to serious scrutiny.
Cary Grant, in his fourth and final outing with Hitchcock delivers a knockout performance as the Madison Avenue adman on the run Roger Thornhill. James Mason shines here also as the oh-so-elegant (but deadly) "enemy agent" Phillip Van Damme, with outstanding support from his menacing secretary Leonard, played with beady-eyed malice by Martin Landau. Eva Marie Saint obviously owns the role of Eve Kendall, glamorous double-agent torn between her duty to maintain her cover and her growing love for Roger, but I personally still can't fully "buy" Eva as a "femme fatale" as depicted in NXNW. No complaints about her performance--she's excellent, and again, her name goes into immortality for this role, BUT I still think another actress would have been more credible as the "morally flexible" Eve Kendall than Eva Marie was able to project. By her appearance and temperament, I think Eva was much better matched to her "good girl" roles, as in " On the Waterfront (Criterion Collection) [Blu-ray ]", which played to her strengths much more than NXNW would allow. Hitch already had two better qualified actresses "in his company" already in Ingrid Bergman (" Notorious [Blu-ray ]") and obviously Grace Kelly ("To Catch a Thief"). STILL--I'm just offering my opinion here; Eva was great and more than nailed the part.
As other reviewers affirm, in many ways "NXNW" was the pinnacle of Hitchcock's career. All the stars converged for this one; OUTSTANDING cast, script, cinematography, locations and all those intangibles necessary to create a CLASSIC which no one can deliberately conjure into being. Let me pay special tribute here to that high-style Frank Lloyd Wright/"Mid-Century Modern" style chateau all the principals converge on prior to their "face-off" grand finale on Mt Rushmore! If such a house doesn't actually exist, well, it should! I'm willing to cast my vote for NXNW as Hitchcock's greatest film, but I respect anyone who prefers " Vertigo " or " Psycho (1960) " or maybe even another. No one's personal favorite is ever "wrong".
HOWEVER--here, in this luxuriant 50th Anniversary blu-ray, we're privileged to enjoy what may prove to be the BEST restoration & presentation of this classic movie EVER. The colors, picture and sound are all STUNNING and exceed the already high standard set by the previous DVD release of NXNW. I see this as an absolute "demo quality" blu-ray disc, a tour-de-force of what the format can deliver to re-ignite our appreciation of these old movies through OBSESSIVELY fastidious restoration and renewal. (Another knockout example of classic movie restoration that will scorch your eyeballs with its beauty: Pillow Talk (Blu-ray + DVD + Digital Copy) .)
Blu ray EXTRAS abound here as well, including a fascinating documentary on the life & career of Cary Grant; obviously relevant and well worth viewer's time & interest. The NXNW documentary hosted by Eva Marie is the same one provided on the original DVD, but it is likewise a worthy and a great bonus feature to enjoy after seeing the movie again. My only gripe is that the sole commentary track, by writer Ernest Lehman, while certainly worthy of inclusion, isn't enough by itself. A film of the stature of NXNW deserves one or more commentary tracks by some historians or directors who can offer insight into the historical context of the Cold War, Hitchcock's intentions/techniques, NXNW's influence on its times and later films, etc. Stay tuned to see whether a 4K "Special Sixtieth Anniversary Edition" doesn't hit the Amazon pre-orders in 2019 to pick our pockets anew!
Until such a re-release appears on the horizon, THIS 50th Anniversary Edition certainly remains the ABSOLUTE "Gold Standard" for seeing and re-discovering the excellence and fun of NXNW. If you've never seen NXNW before, maybe watch a Netflix or Amazon download (or check out a DVD from your local library); established fans of NXNW however, MUST see this exquisite blu-ray reissue to be awed by just what the blu-ray format is capable of with a movie you THINK you've already fully experienced and appreciated.
Finally: in a world overrun with movie kitsch and "Gone With The Wind" Barbies, and other assorted junk, there are only TWO movie props I would like to have for myself: FIRST (and most essential) the gold phone in the lobby of the Plaza Hotel Cary uses to call up to George Kaplan's room. Second (and something I WOULD actually wear), how about one of the "red caps", the scarlet cabbie-style hats scurrying in herds in the Chicago train station where Cary & EMS disembark from the 20th Century. WHERE can I find either (or both) of those for my personal "NXNW" appreciation shrine?
Top reviews from other countries
Indeed there is strong evidence that the very experience of working on NNW’s then-stellar budget of $3.5 million (about $100 million in today's terms), prompted Hitchcock to make Psycho, with minimal crew, on his own dime. This, he thought, would be a way of getting back to the old days, in the tiny English film studios where his career began in the 1920s. He would work directly with a dedicated crew, and have control over production values, art direction, and so on. Furthermore, the quirky shots and gritty noir feel of the best 1940s and 50s work would once again come into their own.
My memory — false, as it turned out — was that NNW was too glamorous, colourful and expensive to allow for any of these noir moments, or any of those hints of the perverse and twisted that is visible in so many Hitch works, even from the very beginning (The Lodger, 1927; Blackmail, 1929); becoming a trademark of mid to late career: Shadow of a Doubt (1943) and The Wrong Man (1957).
Well, there are certain no shabby rooming houses, dodgy motels or dirty back streets. But that, in part, is the point: in the classic crop-dusting sequence, Hitchcock invented an entirely new cinematic idea: sundrenched noir.
That notion — that menace and evil did not need the concealment of dark alleyways — is both literally and metaphorically true in NNW. Every act of wickedness, every hint of evil, takes place amongst people, and in settings, that could decorously feature in the society pages of a respectable newspaper.
Villains like Phillip Vandamm (James Mason) and his sidekick Leonard (Martin “Marty” Landau) are soft-spoken, well-dressed and impeccably polite as they gracefully go about the business of murder and mayhem; they do so in settings ranging from elegant country piles to Frank Lloyd Wright masterpieces. This is homicide in the best possible taste.
The film looks good, and what I mis-remembered as lavishness turns out to be Robert Boyle’s elegance, always with a hint of the decadent; and Robert Burks’ stunning cinematography. (VistaVision, a relatively new format, was perfect for the many outdoor locations).
Bernard Herrmann provides the score: his percussive opening is much celebrated, but undeservedly neglected are his contrasting love themes, best heard in the forest scene near the end.
Saul Bass, as witty as ever in his opening titles, adds icing to this wonderful film: in Hitchcock’s own words, not a slice of life but a slice of cake.
Buy it, watch it. You’re in for a treat.
The film itself has a couple of plot flaws near the end which don't really spoil it unless you are sharper than me to spot them. Still a good film that might make 4 or 5 on DVD but for a blu-ray release I can't give it more than 3.

![Vertigo [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/71LfI6TL8uL._AC_UL116_SR116,116_.jpg)

![Paramount Presents: To Catch a Thief [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/81ze4TK-hKL._AC_UL160_SR160,160_.jpg)
![Vertigo [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/71LfI6TL8uL._AC_UL160_SR160,160_.jpg)
![Charade [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/71jLNggIEYL._AC_UL160_SR160,160_.jpg)
![The Birds [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/71AGE7qdQML._AC_UL160_SR160,160_.jpg)
![The Man Who Knew Too Much [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/51CDvJDtoxL._AC_UL160_SR160,160_.jpg)









