User reviews

Hitchcock at his sharpest. Art and commerce in a delicious salad with all the right ingredients. A brisk screenplay by Ernest Lehman a Cary Grant that is just pure delight, Eva Marie Saint fresh out of her Oscar from "On the Waterfront" is an icy blonde with a brain. James Mason, the ultimate foreign sinister not to mention Jessie Royce Landis and Hitchcock brings Bernard Herrmann to wrap it all up in one of the most infectious scores imaginable. A real treat.

Its Hitch's most briskly entertaining movie, and one of his most comic, adventure-caper type movies, largely thanks to the persona of Cary Grant. But its also one of his most suspenseful - in the fact that Grant is being recognised as someone else, and that he may be put in jail for someone else's crime.

I've finally come to realise just how great North by Northwest is. The reason you should love Hitchcock is he put entertainment upfront. Hitchcock was not interested in whether this or that would happen in real life: he was interested in what would make the most entertaining scene for the movie. North by Northwest is a peak in this regard. The dialogue and situations intentionally throw reality to the wind - the double-entendre dialogue in the love scenes is not supposed to be the way people talk!

If you said to Hitchcock "as if he'd keep driving" or "as if she'd do that" - he would just laugh at you and say you've missed the point. This is 100% movieland, and once you get used to the fact, and that this is not a fault in the film, but done intentionally, you'll love it. Its expressionistic - everything happens in movie language: the people laughing at Grant in the elevator, the way he keeps driving drunk near the beginning, the way he grabs the knife and everyone stares at him after someone's been stabbed.

It flirts with the idea of identity. I thought it was interesting how Grant first is dismissing, then incredulous that people should be calling him by another name; then, as the tries to find out who this guy is, he enters the hotel room of this new identity, then he puts the suit on, and finally he identifies himself as George Kaplan.

A succession of fantastic, memorable scenes, a great leading man in Grant, and one of Hermann's essential Hitch scores make for a movie i can put on at any time.

10/10

My favourite director, Alfred Hitchcock has directed many classics like Psycho, Rear Window and Vertigo, and I will say that this deserves to be up there among his best. I absolutely loved it! The best aspect of this movie is the always charming Cary Grant in a brooding and entertaining performance as Roger Thornhill, a man wanted for the murder of a diplomat. Solidly supporting him all the way are the lovely Eva Marie Saint as Eve Kendell and oily James Mason as the villainous Vandamme. They are further advantaged by some excellent camera-work and a wonderfully atmospheric music score. The script is focused and suspenseful, and Hitchcock's direction ensures the film rarely slips, even if some of the complicated plot does fly over people's heads. The climax though is simply the icing on the cake. Overall, a hugely enjoyable film, which I will give a 9.5/10. Bethany Cox

I saw this film for the first time when I was a freshman in college as part of an english class I took entitled "writing and the movies". Little did I realize that I would be seeing a film that would stay with me to this day and in essence become one of my all time favorites. Then, a few years ago, I caught it on the big screen at the Fine Arts theater in downtown Chicago. I remember that it was a rainy, cold October day. Perfect weather for a Hitchcock film I thought to myself.

For me, half of the fun of North by Northwest is its incredible story. This film has something for everyone within it: a little comedy, a little romance, great snappy dialogue and more action than any Bruce Willis Die Hard film combined. Hitchcock was a master at this and in North by Northwest he lets his genius shine through totally. It seems to me that whenever I watch it, everyone who made this film from Cary Grant on down had nothing but sheer fun making it. Perhaps my two favorite scenes are the infamous "crop-duster" sequence and the last twenty minutes or so at Mount Rushmore.

I must give special mention to Ernest Lehman who yet again managed to write a screenplay that totally knocks your socks off. How he came up with the idea, I've not a clue, but what an idea it is. The screenplay itself was nominated for an Academy Award that year, but lost to Pillow Talk. North by Northwest was also nominated for Best Set Decoration and Best Film Editing, but lost to Ben-Hur in both categories.

All in all, what a film. If you haven't seein it, do so ASAP. North by Northwest just reinforces my belief that Alfred Hitchcock was one of the greatest directors of all time. Period.

My rating: 4 stars

Alfred Hitchcock's "North by Northwest" is one of the best films in his long and distinguished career. Part of the success of the movie lies in the screen play by Ernest Lehman, one of the best writers of that era. Also, the haunting music by Mr. Hitchcock's usual collaborator, Bernard Hermann, adds texture to what we are seeing. Together with all the above mentioned qualities, "North by Northwest" was photographed by Robert Burks and was edited by George Tomasini, both men did outstanding jobs to enhance a film that shows a mature and inspired Alfred Hitchcock.

The film works because of the witty dialog Mr. Lehman wrote. This has to be one of the riskiest projects undertaken by Mr. Hitchcock because of the sexiness Eva Kendall exudes throughout the film and the repartee between her and Roger Thornhill. The film mixes adventure and romance that aren't put ons, as one feels what one's watching to be really happening.

Much has been said in this forum as to the values of this classic, so we shall only add our pleasure in seeing this masterpiece any time it turns on cable. In fact, the film hasn't dated, the way some others of the same period have. The highlights of the film are the sequences involving the crop duster, the train ride to Chicago where Eve and Roger first meet, the auction, and the Mount Rushmore climax.

This is one of the best contributions by Cary Grant to any of his work with the director. Roger Thornhill is one of the best roles Mr. Grant played, during his long career. His chemistry with Eva Marie Saint is perfect. This young actress added class and elegance to the picture. James Mason and Martin Landau played villains convincingly. Jesse Royce Landis, Leo G. Carroll, and the rest of the supporting cast is excellent.

"North by Northwest" is one of Alfred Hitchcock's best crafted films thanks to the brilliant people that came together to work in it.

For Christmas this year, I received my first to-own DVD: Hitchcock's classic, NORTH BY NORTHWEST. After over 40 years, this rip-racing adventure-thriller still packs a punch and looks great on widescreen. This movie came along during a renaissance period for the Old Master, between masterpieces like VERTIGO and PSYCHO, but this excursion into the world of suspense is so different from anything else Hitchcock had created up to that point. Never did he challenge our endurance to keep still in our seats for such a long period of time, and yet the film's 135 minutes go by so fast it could only be explained by movie magic itself.

Cary Grant is one of those actors that a filmgoer either falls in love with or deeply envies. His debonair manner is displayed to the full in this film, even though the peril that his character goes through would cause any normal dude to break into a maddening sweat. The dialogue Roger Thornhill delivers alongside Eve Kendall (Eva Marie Saint) in this film is sometimes too hilarious to be true, but wouldn't any woman fall for it? (I'm merely guessing here) Ernest Lehman's screenplay is so lighthearted and yet very ominous. With all the traps and pitfalls Grant goes through in this film, you would have to find comedy in it. Grant does and to great appeal. I absolutely love the sequence at the auction when Roger tries to get himself arrested by yelling out flaky bids and accusing the auctioneer of selling junk worth no more than $8. I also admire the scenes with Saint on the train to Chicago; I was tempted to jot down some of his pick-up lines, but then I realized it's just a movie (or is it?)

Hitchcock was famous throughout his career of setting up death-defying sequences with major landmarks as backdrops. Here, Mount Rushmore will never be looked at the same again afterwards. We may never enter the United Nations again without peering behind our backs for a notorious knife-thrower. And, I dare say, I will never walk alongside a highway where a cropduster could swoop at any minute. I love the line during the Rushmore incident when Grant says his two ex-wives left him because he lived too dull a life. Go figure!

It has been said that Hitchcock's many films each contain a personal side of the director inside them. The archetypes of the Master of Suspense are here amid the chasing and running across the U.S. The mysterious blonde, played to a tee by Eva Marie Saint, is a common fixture of many Hitchcock jaunts. Saint joins Grace Kelly and Tippi Hedren in this feature. The protagonist is again awkward when faced with the opposite sex, but unusually casual when wrapped up in danger. The hero has an attachment to his mother, continually under his nurturing wing. And of course, the macguffin has fun with us again (government secrets my foot!)

Whenever I see action-packed epics today like "The Fugitive" or the James Bond series, they all seem to quiver in comparison to this film. It amazes me that Hitchcock is able to hold the audience in the palm of his hand throughout the whole length of the journey. We become Grant as he runs away from the police and the secret agents who have chosen him as their dupe. But throughout the squabble, we sense that Grant is getting off on the whole jaunt, just as we want the chase to continue, not looking at our watches for a minute. However, it's fascinating to note that Roger Thornhill is not a born adventurer, nor is he an archeologist with a flair for escaping impossible situations. We are experiencing the Cary Grant in all of us, running away from an enemy we do not know they are or what they want. Is this symbolism of some kind? I say who cares; just watch the film and have fun!

This is Hitchcock's best film – quite an accomplishment, considering how many great films he created. And after half a century, "North By Northwest" holds up beautifully. This film has it all: suspense, glamour, humor, and images that capture the imagination and remain etched in memory. The legendary crop-dusting sequence alone is a master class in the art of pure cinema. Like the rest of the film, it's brilliantly conceived and brilliantly executed. All the elements come together to produce the finest form of entertainment. Bernard Herrmann's frantic fandango captures the complexity and pace of the action. Ernest Lehman's script is full of sophisticated dialogue. Performances are spot on. Has Cary Grant ever been more engaging? Is James Mason the ultimate in charming villains? And Eva Marie Saint's allure is multi-faceted. Movies just don't get better than this.

Cary Grant handles the twisted expressions of his face, his astonished look, his impulsive smile with professional self-assurance and charm while taking us right in the middle of confusion on a breathless 2000-mile cross-country chase which has its gripping showdown across the giant faces of the presidents sculptured on Mount Rushmore high above Rapid City, South Dakota…

Grant plays Roger Thornhill, a stylish publicist, mistaken for a fictitious Federal agent, plunged into a world of crime and intrigue, hunted down by villains who want to eliminate him because he seems to be on their dishonest dealings…

When questioned by bland Phillip Vandamm (James Mason), Thornhill is unable to convince him that he is a victim of a mistaken identity… His three thugs fill him with bourbon, and place him in a stolen car expecting him to have a drunken accident… After narrowly escaping death, no one believes his story including, obviously, his skeptical mother (Jessie Royce Landis).

In an effort to discover the agent he is being confused with, and using the clues he collected, Thornhill returns to the United Nations Headquarter looking for George Kaplan… There, somebody falls into his arms and unthinkingly, Thornhill draws the blade out of the victim's back and is photographed holding the weapon in mid-air… And thus became a fugitive from justice, pursued by the cops and had to skip by boarding a train to Chicago…

While on the run, he is caught by a provocative platinum blonde (Eva Marie Saint), who comes out as a glamorous woman and a delightful charmer…

James Mason, a polished mastermind spy showed too well to be threatening... His menacing henchman, Martin Landau is also convincingly hurtful...

In his fifth Hitchcock picture, Leo G. Carroll is suave and calm as the devoted intelligence chief…

Directed by a genius behind the camera, "North By Northwest" remains a genuinely exciting film for the dangerous world of spies and counterspies

When you thought that he's all out of ideas and last minute rescues, Hitchcock comes back with more eye candy and great action. North by Northwest is sometimes called Hitchcock's last great film. Carey Grant and Eva Marie Saint have very good chemistry and the inclusion of not one, not two, not three, but severa plot twists makes this film one of Hitchcock's best.

One thing not focused on in this film is the use of camera angles. When Roger is taken to make the telegram, the camera slides from a foreground view of Roger's lunch buddies, to the two standing men in a background view. Also, when Roger awaits George Kaplan in the field, there is a great establishing shot of Roger where there is total silence and calm until the eerie plane is spotted. One last camera technique that Hitchcock perfected was when, in the final moments of the Mount Rushmore chase, Roger Thornhill and Eve Kendall were saved by the sniper. The body of the person shot was shown and then a tilt up to the sniper showed the detectives. Little snipets like these were just a few things Hitchcock did well.

Overall, this movie was one of the best I've seen ever. For a 1950s movie, it is ahead of it's time and paved the way for future films to imitate many of the innovations that the flick brought to the screen. Go out and see this movie!

When I started collecting videos in earnest (by the thousands), I was excited to get this film. I had such fond remembrances of seeing it on the big screen when I was young teen. I remember being terrified when Cary Grant was being chased by the crop duster and then awed at the end with the climactic scene on Mount Rushmore. I saw it maybe a decade or so later on television and enjoyed it again.

Well, seeing the film again five years ago on DVD as a 50-something-year-old turned out to be a major disappointment, mainly because the first hour was so boring. The beginning had scenes that looked too dated and worse, were drawn out too long, such as Grant's drunk scene and the romance between he and Eva Marie Saint.

Once Grant goes on the run, the story improves noticeably and mixing in some comedy with the drama was a good move. From that point, it's still the fun film I had remembered but, overall, didn't have the suspense anymore and, to this day, I believe is an overrated Alfred Hitchcock film. The more I see of Hitch's old films, the more disappointed I am, with the exception of Psycho and Rear Window.

One of the impressive movies ever made. This film is years ahead in hits film making.

North by Northwest will need no introduction to most movie-goers. It's a classic, greatly admired by audiences and critics alike. The story about a befuddled ad-executive fleeing from spies and the police (the spies want him dead because he knows of their plot, the police want him captured because they think he's behind a murder) is done at a breakneck pace and deals with Hitchcock's most frequently used theme: an innocent man on the run.

Cary Grant is urbane and smooth as the hero. James Mason oozes silky menace as the principal villain (Martin Landau also plays a villain, giving his character a seriously nasty toughness). Eva Marie Saint is simply fabulous as the woman whose loyalties seems torn between good and bad.

The set pieces are rightly considered to be moments of cinematic genius. Grant's escape from a crop-duster; the fight atop Mount Rushmore; the auction house bluff; the drunken car journey; the murder at the UN building.... each scene is brilliantly devised by script writer Ernest Lehmann and just as brilliantly filmed by director Hitchcock. Everyone should see this movie... it's a masterpiece.

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!

"North By Northwest" is another of Alfred Hitchcock's thrillers where an ordinary man is put into an extraordinary situation. As in most of these movies, the hero has to quickly adapt to his situation or perish.

This time it is Cary Grant who is thrust into a world of international intrigue when is mistaken by villain James Mason for an American operative named George Kaplan (the film's "McGuffan" by the way). Along the way he is seduced by Mason's mistress (Eva Marie Saint) while being pursued by Mason and his cronies from New York to Chicago to South Dakota and ultimately to Mount Rushmore for the film's climax.

"North By Northwest" is full of classic Hitchcock moments. First,there is Grant's frustration and fear as he tries to explain to Mason that he is not the person they are seeking. Next, the scene in the cornfield where Grant is isolated and attacked by a plane is pure Hitchcock. Then we have the art auction where he cleverly escapes Mason's henchmen and finally, the finale at Mount Rushmore in a scene reminiscent of a similar one in "Sabotage" (1942) (which took place at the top of the Statue of Liberty).

The cast, as in most Hitchcock films is excellent. Grant is understandably confused and frightened as the the hero, Eva Marie Saint has never been sexier as the femme fatale, James Mason is suave and sinister as the villain and Martin Landau in an early role, is good as Mason's chief henchman. Hitchcock regular Leo G. Carroll is cold heartedly sinister as the "professor". Jesse Royce Landis as Grant's mother (she was about Grant's real age) is wasted and unnecessary to the plot.

The only problem that I have with this and other Hitchcock films is his over reliance on back projection and soundstage "exteriors". Other than that. "North By Northwest" has to be considered as one of Hitchcock's best. Watch for Hitchcock's hilarious cameo appearance at the end of the opening credits.

A case of mistaken identity for Roger Thornhill, sees him picked up by a dangerous, powerful villain, and later falsely accused of murder.

Some films and shows age badly, for all sorts of reasons, plot, acting, production values, not far of seventy years old, Hitchcock's masterpiece North by Northwest holds up as a true classic.

It will looks remarkably stylish, features a superb central acting performance, and boasts a plot most writers only dream of creating. Full of twists and turns, Hitchcock spins a terrific web.

It's not serious the whole way through, indeed there are a few lighter moments, I particularly loved the scene in the auction room, the look on the auctioneer's face throughout, brilliant.

Cary Grant is simply oozing with charisma, loaded with style, he offers real Hollywood Star quality, James Mason and Eva Marie Saint are equally brilliant.

A tremendous watch, 9/10.

Wedged between the making of two very serious, psychological suspense films, "Vertigo" and "Psycho", director Alfred Hitchcock created a very different kind of thriller, one consisting largely of comedy, both subtle and obvious, thanks in part to the talent of scriptwriter, Ernest Lehman. Hitchcock and Lehman started with three seemingly unrelated ideas, (1) a mistaken identity, (2) a chase scene through the United Nations, and (3) a spectacular finale at Mount Rushmore. They then wove these three events into one cohesive story, a fascinating creative process by itself.

As to the acting, I have seen Cary Grant in many movies, including a number of mediocre items and even worse than that, but he provides the perfect Roger Thornhill with his dry, natural wit and suave, elegant appearance. Whenever I am faced with life's adversities, I only need to recall how Roger would approach the situation with his coolness and muted sense of humor. The fact that Grant did not understand Lehman's script only authenticates his genuine state of confusion as he is pursued from New York City to Rapid City, South Dakota by way of Chicago and some very dry Indiana cornfields. As the mysterious Eve Kendall, Eva Marie Saint is a very different woman indeed from her Oscar winning performance as Edie Doyle in "On the Waterfront", and she never ceases to intrigue us as a woman who is far more independent and sexually assertive than we would normally expect in 1959. And who could deliver those caustic, cynical lines as well as James Mason in the part of the deceptively "respectable" villain, Philip van Damm? Grant and Mason are an outstanding match, and they bring this film to a high level (no pun intended when you consider the ending) that it may not have achieved without their dynamic interaction.

Throughout the film, subtle undercurrents flow beneath the surface, including Thornhill's curious relationship with his undermining mother (Jesse Royce Landis), which may by itself explain his previous two divorces. Then there is the quirky jealousy of van Damm's assistant thug, Leonard (Martin Landau). When I first viewed this film at the innocent age of ten, I didn't appreciate the symbolism of the speeding train through the tunnel at the end, but I was nevertheless very impressed by the overall visual power created by Hitchcock, not only here but in many of his other productions as well.

There were many memorable cinematic moments in this film, including an extraordinary aerial shot of Thornhill escaping from the United Nations building, a sudden showdown involving a man, a speeding oil tanker, and a menacing crop duster, and several, breathtaking shots from atop Mount Rushmore, both real and manufactured. As was the case with the Statue of Liberty in "Saboteur", the power of the monument is enhanced even more by the director's dramatic camera angles as it stands as an invincible symbol of the freedom that the evil elements in the film want to destroy.

The success of "North By Northwest" is shaped by a combination of winning attributes, including a very gifted director, a sharp, snappy screenplay by Lehman, superb cinematography by Robert Burks, an effectively moody musical score by Bernard Hermann, and some first-rate acting.

`North by Northwest', written by Ernest Lehman and directed by Alfred Hitchcock, stars Cary Grant as Roger Thornhill, an advertising executive who finds himself embroiled in a particularly nasty case of mistaken identity. He finds himself being mistaken for a gentleman who is wrapped up in some dirty dealings with Phillip Vandamm (James Mason), his henchman Leonard (Martin Landau) and various other unsavory thugs under Vandamm's employ. He also meets up with Hitchcock's requisite blonde femme fatale, Eve Kendall (Eva Marie Saint) and surrounded by this cast of characters makes a cross-country adventure where his life is threatened several times; all the while with Thornhill having to depend on his wits to keep him alive.

While `North by Northwest' is a good film, I don't consider it to be one of his best, which, at least in my small circle of rabid film friends/relatives, is fairly sacrilegious. I enjoy the vibrancy of the script and the lush cinematography, but there are a couple of things that cause the film to fall short of excellence on my personal Hitchcock scale. Mainly, there's the matter of James Mason as the villain. Mason is a great actor, and has been in some really good films, so his talents were wasted as the tepid Vandamm. There simply really wasn't a part for him in the film; rather, most of the relatively `juicy' bits were relegated to Martin Landau. It seemed that the concentration was solely on Grant's character, which in most cases is adequate, but in a suspense film, I personally like to see the villain have a more pervasive presence.

Of course, there are some masterful elements to this film. The infamous cornfield scene is truly masterful. It isn't even the shot of the crop duster chasing down Grant – the image that gets me every time is the very quick shot of Grant standing across the dusty road from the gentleman waiting for the bus. As he is sizing him up, trying to figure out if he is the man that he has traveled a long distance to see, Hitchcock frames the shot much like a classic western. There are many shots like this that, if frozen, would make a compelling photograph. I can also acknowledge, while I am not as much a fan of Hitchcock's comedic moments as I am of the more dark or horrifying ones, that the comic timing with which Grant delivers his lines is excellent. His charisma certainly adds a spark to the film, and there are times when he is so smooth that even if something was completely unbelievable I had to laugh and say, `Hey, it's Cary Grant – what do you expect?'

`North by Northwest' was made in 1959 and is more akin to the whimsical and much-eschewed `The Trouble with Harry' than his more story-driven films of the 1940's and his horrifying masterpiece a year later, 1960's, `Psycho'. While I acknowledge that `North by Northwest' is a good film, it doesn't even make my personal `Hitchcock Top Ten' on which his darker films dwell. However, it's kind of the way I feel about the Coen Brothers – even a simply `good' film of theirs is usually much better than the average film, so a slightly above-average Hitchcock film like `North by Northwest' garners at least three stars from me.

--Shelly

One can argue about is 'North by Northwest' the best movie in the long list of Alfred Hitchcock's masterpieces, but it is definitely his most entertaining one. Escapist and unrealistic, sure, but all the characters, their motivations, actions and events depicted on the screen are believable in their own universe that Hitchcock directed based on Ernest Lehman's screenplay. The dialogue is witty and filled with amusing innuendos, and although it might seem that it is all game for the characters, the imminent threat is always present, and doesn't give the viewer (or the characters) too much time to rest from head spinning action. One aspect that is truly amazing (especially for a film like this) is that none of the characters were irritating, especially those who were totally ignorant for the obvious - the police officers and main character's mother (Jessie Royce Landis - what a wonderful performance), who didn't take seriously one single word that Roger Thornhill said about his situation.

Cary Grant, who mostly played himself in his later movies (he did that wonderfully, I might add), gives one of his best performances as Roger Thornhill, a man who is mistaken as government agent and later falsely accused of crime he didn't commit. Eva Marie Saint equally shines as Eve Kendall, a woman whose intentions are unclear. Chemistry between the two leads make the screen sizzle (take that implication how you want) and it is pure enjoyment to watch these two playfully overcome all threats and obstacles. James Mason is perfectly intelligent as the lead villain and Martin Landau as his cruel and cold right hand.

Not many movies can be so easy going and edge on your seat entertainment at the same time, and with such perfection. Timeless classic that has aged graciously without any wrinkles.

As it is clearly demonstrated even in this forum, many, many people love this movie. I just finished viewing it myself for the first time, and frankly, I can't say that I agree. Am I nuts? Maybe. All I know is I'd like to put my two cents in, for what it's worth.

For an espionage tale like this, I would have preferred an approach more based on grim realism. Instead, the narrative seemed a bit too convenient and contrived, as if Old Hitch was trying to make the ends meet at the last minute. Somehow, I never felt the `taut' tension of his other films that I've immensely enjoyed (Dial M for Murder, Rear Window, Psycho, The Wrong Man, Vertigo, to name but a few). It certainly doesn't help that the film contains too many scenes that verge on the `fantastical' level. For example, there's a scene in which a gun goes off in the living room of a house. Eva Marie Saint comes out of her room and asks, `What was that noise,' to which James Mason replies, `We were just wondering about that.' Martin Landau just gives a little shrug and all is forgotten. I mean, come on! I'd say it's pretty hard to mistake a gunshot for, say, somebody dropping a glass on the floor. As I mentioned, there are many more scenes like this during the course of the movie, and every single one of them acts as a ‘decelerator' of the narrative. Also, the overall performance of the cast struck me as rather underwhelming, especially when we're talking about some of the finest actors ever to grace the silver screen. James Mason, in particular, sleepwalks his way through, though I can't blame him, given the fact that his character was so painfully underwritten. The bit when Cary Grant acts like he's drunk was pretty difficult to sit through. Humor is fine when it works on, again, a believable level.

I like the idea of having a normal Joe get tangled up in a case of mistaken identity/international espionage. Also, it does feature some memorable scenes, especially the famous crop field/airplane sequence (it really does deserve all the praise it has received) But again, it just proves to me that even a seemingly sure-fire combo like Ernest Lehman-Alfred Hitchcock can still come up short on the goods.

The second 007 adventure, `From Russia with Love', received some hounding because people thought it was basically a rip-off of this movie (there are some obvious similarities), but in this madman's humble opinion, `From Russia with Love' is the one that achieves a better telling of a spy story.