North by Northwest

                Alfred Hitchcock’s North by Northwest is an engaging chase film that incorporates elements of suspense, intrigue, romance, and danger.  These qualities, as well as others, help to make the film an interesting and engaging one for viewers of any time.  It is not only Hitchcock’s narrative style, but the cinematic elements which he incorporates as well, which serve to make North by Northwest of interest to a wide variety of viewers.  The first technique that Hitchcock uses is that of the establishing shot.  He uses this for nearly every new setting that is introduced.  The very first shot of the movie is of the side of a glass building, in which the viewer can see the reflection of cars driving down a busy road.  This shot is intriguing because it alerts the viewer that the following action will take place in some city, yet it is not yet the city itself that the viewer sees, but simply a reflection.  Other crucial establishing shots are that of the Townsend mansion, the U.N. building’s exterior and interior, the bustling insides of the train station, many shots of the train’s journey, the barren country road where Roger is supposed to rendezvous with Kaplan, the face of Mount Rushmore, and more.  These establishing shots, which give context to a scene, are helpful in allowing the viewer to understand the plot by identifying the setting.

                In addition to providing a context for the following scene, establishing shots also lend a sense of continuity to help the viewer to understand that which follows.  One other notable example of continuity is the scene where Roger leaves the auction room escorted by the police, and disappears screen right, only to reappear on screen left, walking the same direction in the lobby.  Many cases of continuity are also paired with elements of discontinuity to express changes that have occurred, or similarities between two different situations.  One example of this is the transition from the bottle of Bourbon, which Roger is forced to consume, to the Mercedes on winding road next to the ocean.  The setting is entirely different in both, showing discontinuity, but several important things remain the same.  Roger is the principal character in both scenes and is still accompanied by Vandamm’s henchmen in the second.  The viewer also notes that Roger is now noticeably intoxicated as a result of the Bourbon which the viewer now understands him to have consumed.  Another such example is at the very end when Roger is holding on to Eve in an attempt to save her life on the edge of Mount Rushmore, and the scene changes to the drawing room of a train, where Roger is also holding his hand out to Eve, but this time to help her onto the bed.  Hitchcock employs match editing in this case to show the maintained connection between the two characters, but also the discontinuity in their attire and setting.  One final, but very important example of continuity editing is one that reoccurs throughout the middle of the movie and incorporates the transition between establishing shots of the train on its course and shots of events occurring inside of the train.  This serves to show that the train is still travelling, but they also show the passage of time, notable by variances in the light outside.

                Another important method through which Hitchcock demonstrates both continuity and a context for the viewer is that of shots during conversations such as eyeline, point-of-view, and over-the-shoulder.  In Eve’s drawing room, when she has hidden Roger in the compartment reserved for her bed, she looks up at the compartment, but the viewer, who does not see Roger, becomes aware of his location because of this.  Another interesting instance of this is at Vandamm’s home in South Dakota, when the maid looks at the television, and then the viewer sees that Roger is reflected in the screen.  In addition to these point-of-view shots, Hitchcock shoots many important conversations with an over-the-shoulder view, and makes sure to abide by the 180-degree rule and keep each character on their own respective half of the scene so as not to confuse the viewer.  Some of these important conversations are the first between Roger and Eve in the dining car, their conversation before their first romantic encounter, then in her hotel room, and in the forest near Mount Rushmore.  Shots such as these make it possible for the viewer to understand what is taking place while offering different views and perspectives.

                In a review posted by the New York Times, A. H. Weiler notes that the film has a “witty and sophisticated style” and appears to have some of the most enjoyable qualities of a chase, being “scenic, intriguing, and merr[y]”.  This part of Weiler’s critique on the film is certainly true.  The film is executed with taste and class, entertaining and ensnaring the viewer and providing enough interest and intrigue to keep the viewer’s attention, while still not revealing too much all at once.  Also, in accordance with Weiler’s perception, Cary Grant portrayed his character quite well, and was especially amusing when called to act drunk and angry.  Eva Marie Saint also performed quite well, aptly portraying a lovely seductress as well as remaining an intelligent character as both an accomplice and an agent.  One thing that was also quite favorable about her character was the fact that she was not entirely helpless and dependent on the male characters to dictate her behavior.  In a manner that is somewhat surprising for the time, but wonderfully refreshing, Hitchcock does not cloud his portrayal of Eve Kendall with misogyny.  Finally, Weiler believes that the film has a brisk nature, but is somewhat slowed by an overdrawn climax.  For a viewer of this time who is accustomed to a faster pace in modern film, this final assertion is most certainly true.  As for the film being “brisk,” the modern-day viewer would likely disagree, but find it quite agreeable and perhaps even consider Hitchcock to be a visionary for his time.