North By Northwest [DVD] [1959]

First, let me confess a little anti-North By Northwest prejudice as I settled down to watch this 1959 classic. My memory was that it had great comic moments, and some real suspense (the latter presented as much for laughs as for gasps)... but that it was a bit too much of a big-studio production to be a “real” Hitchcock on the lines of Strangers on a Train (1951) or the ultra-low budget Psycho (1960), which immediately followed it. 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.

During a span of 51 years, Alfred Hitchcock made 57 feature films, from "The Pleasure Garden (1925)" to "Family Plot (1976)". I've watched nearly one-third of them and should say that "North by Northwest" is the fastest, funniest and most beautiful of his caper/thrillers. Actually, the premise for "North by Northwest" is nothing new: a case of mistaken identity. An "ordinary man" accused of a murder he did not commit, and he must clear his name by assuming different identities. "The 39 Steps", "Young and Innocent", "The Wrong Man" and "Saboteur" were based on a similar theme. But what makes "North by Northwest" so special is its rarity in combining a twisted plot with a dazzling cast, great action, ingenious direction to create a yummy blend of suspense, adventure, deceit and Hitchcockian style of wry humor. If any movie shall be called "true cult classic", it is "North by Northwest". Along with lots of deadly one-liners, the film hosts a bunch of the most memorable scenes in motion picture history: the murder in the lobby of the UN building, Thornhill's witty escape in the auction house, the attack of mysterious crop-duster in the middle of nowhere, all scenes on the train, and the climatic chase atop Mt. Rushmore. Hitchcock proves here again he was master of substitution of the language of the camera for words. Take the crop-duster scene. Without any music or special effects, no other director can afford to create such a claustrophobia on an open space in broad daylight just using natural sounds and complex suspense elements in the rhythm of events and cutting. The film has a strong subtextual ideologic base too. Far ahead of its time in that it captures the political zeitgeist of late 1950s perfectly: moral relativism dominating the Cold War era. Very good epitome of how the State sacrifices the "ordinary man" for secretive causes involving the national interests. Last word: pure, plain and vibrant. Despite 50 years have passed since its making, it is still fresh and highly watchable.

This film has never looked so good. Looks like it was filmed yesterday. The upgrade to the sound of dolby atmos is a nice improvement. The 4k does show up the special effects a little bit more but it's half the charm of these older movies. Overall a worthy upgrade to your collection if this is a film you enjoy.

Always a favourite this one, from Bernard Herrmann's propulsive score to Cary Grant's effortless charisma as the man in the wrong place at the wrong time. I had this on VHS, then DVD, then Blu Ray and now....4K! Is it worth the £19.99 paid? It sure is! The one grumble is that this was shot at the time with VistaVision (the IMAX of the 50's) and so, as with Paramount's recent 'White Christmas' and 'To Catch A Thief' 4K Vistavision releases, it would have been nice for Warner's to apply Dolby Vision to this - they haven't - and so its a missed opportunity. That said, this is the best quality that you will ever see this film in and I loved the exit from the UN building vertigo inducing shot and of course the crop duster setpiece. Detail is as sharp as Grant's long suffering suit and exterior shots look like they were filmed yesterday. It's 4 out 5 because of the Dolby Vision absence but don't let that put you off, it's still an essential purchase.

This is a beautiful print of a wonderful movie. The image is likely better than the original on a screen.

Excellent film

Film excellent à l'image de la remastérisation 4k. Une amélioration au niveau de la définition de l'image mais aussi au niveau des couleurs. L'image du blu ray était excellente mais maintenant avec ce 4k on a atteint la perfection.

Esta edición británica del 50 aniversario de Con la muerte en los talones corresponde a la que se puede comprar en España, sólo que a un precio mucho más bajo. Dejando de lado comentarios sobre la maestría de Hitchcock o el significado de la película en su filmografía o en la de Cary Grant, se puede afirmar que la calidad de imagen y sonido de la versión en Blu Ray es magnífica. Desde los títulos de crédito ya destacan los colores bien definidos y una música potente, aunque haya que subirla un poco de volúmen en la VO. Sin duda estamos otra vez delante de una restauración muy agradable de un clásico. Para los puristas amantes del "grano" original, el BluRay tiene escenas donde pueden observarse, sin suponer ello una escasez o un exceso de celo en la restauración. Respecto a los extras, el disco incluye 2 reportajes con opiniones de Guillermo del Toro, Martin Scorsese y William Friedkin relacionados con el análisis de la técnica cinematográfica de Hitchcock en Con la muerte en los talones, y con la influencia del director británico en sus cinematografías respectivas. Además, Eva Marie Saint recuerda la realización de la película y su relación con Cary Grant y Hitchcock. Por último tenemos una hora y media de la vida de Cary Grant, con entrevistas a sus esposas, compañeros de reparto e imágenes de sus películas. Trailers, fotos y el audiocomentario del guionista completan la lista de extras. Para resumir, esta edición en Blu-Ray bien merece un lugar en nuestra estantería por sus cualidades técnicas, la cantidad de extras y la posibilidad de volver a ver un clásico como nunca antes pudimos disfrutar.

one of the all time best Hitchcock film noirs!!