North by Northwest
Alfred Hitchcock
1. The working titles for this film were Breathless, In a Northwesterly Direction, and The
Man on Lincoln’s Nose. Why do you think Hitchcock settled on North by Northwest?
Some critics see an allusion to Shakespeare, when Hamlet tells his former friend
Guildenstern: “I an but mad north-north-west. when the wind is southerly I know a
hawk from a hand-saw”. Do you see any justification for this literary reading of the
title?
2. When the film opens, we learn a few things about Thornhill’s character and
personality. List some words that would describe him. As the film progresses you
may notice some changes. When do you see him begin to behave differently than
just described? Has he evolved into a different kind of man by the end of the movie?
Explain.
3. What is the MacGuffin in this movie? If the story of this MacGuffin isn’t what the
movie is really about, what is? What keeps your interest?
4. This movie was crafted by the Master of Suspense himself. What are the most
suspenseful scenes? How were these scenes designed to enhance suspense?
There are also some scenes where viewers are surprised. How are surprise and
suspense different?
5. The traditional clear cut division between good guys and bad guys gets a little blurry
in this film. Compare Vandamm and the Professor. Who do they represent and what
do they want? How do they manipulate people? Is there a difference in their use of
force and deception? Does the end justify the means?
6. Which war is referred to by the Professor when he says “War is hell”? What is the
meaning of Thornhill’s answer? What kind of comment is Hitchcock making on world
events?
7. How are women represented in this film? Think about Thornhill’s relationships with
his secretary, mother, Mrs. Townsend and Eve Kendall? Do we see any changes
throughout the movie?
8. Do minorities appear in this film? What does this say about the U.S. in the 1950’s? If
a modern version was made, would there be a difference? Describe.
9. Analyze the comedic moments in the film. Do they enhance or detract from the
overall meaning and style?
10.
Much has been made of the distinctive suit worn by Thornhill throughout the film.
What is the symbolic meaning of this suit? What happens to it throughout the story?
11.
Movies use motifs or repeated elements to provide unity and meaning. Notice
the motifs of intercepted messages and vehicles, and of certain colors, clothing and
locations. What do these clues do to communicate an underlying message?
12.
Do a storyboard analysis of the cornfield chase scene. Begin with a drawing for
each shot, showing the action and composition within the frame. Give the length of
each scene in seconds and a brief written description of what you see and hear. A
storyboard allows you to see the director’s artistry in action: how he organizes
elements within the frame, how he edits a series of buildups and false starts to create
suspense and surprise, and how the scene furthers the action while developing the
movie’s thematic interests. What does your storyboard teach you about Hitchcock’s
film technique?
Notes:
Opening Credits: establishes a mood. How do colors, music, perspective and images
create an expectation?
Missing the Bus: Hitchcock’s signature is a cameo appearance and here it is. How is
this scene a sign of things to come?
Thornhill in Manhattan: What makes Thornhill a part of the city’s jostling flow? How
does he stand out? What do we learn about him as he secures a taxi?
In the Library: Why does Hitchcock have Thornhill and Vandamm meet in a library?
Compare the appearance and mannerisms of the two enemies. Notice how Hitchcock
allows the two men to examine each other, circling like animals. Notice the use of point
of view shots to direct our attention throughout the scene.
Driving Drunk: Notice the skillful mix of comedy and tension throughout this scene.
Check out the sound track, acting and camera work. Are there noticeable differences in
them when humor is the intention? How do the special effects influence the viewer?
“Do you know this man?” When Thornhill goes to the United Nations building the
audience gets some more surprises. How does the scenic direction contribute to our
surprise? Does Thornhill react as you would expect? The extreme high angle shot as
Thornhill runs out has been discussed and analysed by students of film. What might
this unusual technique be symbolizing?
“It’s a nice face.” Thornhill and Eve conduct a sophisticated romance on the train.
Trace the development of it, and how Hitchcock enhances it with his direction.
Audiences were entranced by the scene when Thornhill lights Eve’s cigarette. How
does it look to us today?
Crop Dusting: This is the film’s most celebrated scene, where an empty and ordinary
field becomes sinister in the hands of the master. With no music, little sound, and little
action for the first five minutes, we can still sense what’s coming. How was this
achieved? How are the shots framed, composed and timed?
Auction: How does the Thornhill react to the sight of Vandamm’s hand on Eve’s neck?
Notice the placement and dress of the characters. How does Thornhill change the
balance of power to gain the upper hand?
Vandamm’s Hideaway: Thornhill peers in through the windows to see Eve out of
reach. He can’t hear much, but he sees Leonard’s gun before Vandamm does. Notice
how Hitchcock reveals details slowly and carefully to keep the audience involved but off
balance. Notice too the strong emotions beneath the even composure of the actors.
Cliff Hanger: Hitchcock used an expensive model of Mount Rushmore to film the final
chase scene, augmented by rear-projection special effects. By today’s standards these
may look artificial, but many critics feel they provide some necessary surrealism that
adds to the message of the movie. What is your reaction? What message does the
sight of tiny figures scrambling across this monument convey?
“Come along, Mrs. Thornhill.” The film’s ending contains one of the most famous
match cuts in history. As Thornhill pulls Eve from the edge of Mount Rushmore, she
lands in his arms in a berth aboard a train. Hitchcock once said that movies are not a
slice a life but a piece of cake. How does this radical departure from realism show the
us the prankster in Hitchcock? Consider the lighting, music, costuming and the parting
shot of the train plunging into the tunnel.