"What does the 'O' stand for?" "Nothing."

Rating: 10/10 (20 November 2009)

By 1959, Alfred Hitchcock's star as a director had been monumentally starting to rise, propelling him past the point of respectable craftsman or even serious artist, to the point of recognition as an industry celebrity. However, contrary to the stereotype of the artist resisting the trappings of celebrity, this star image was one Hitchcock voluntarily, even consciously bought into, playing up his larger than life image of the 'master of suspense', particularly in his show, "Alfred Hitchcock Presents", complete with his own recognizable theme song. As such, it would appear that the collection of tropes, whether thematic trends, technical similarities or recurring narrative and character types now characterized as a "Hitchcock film" were hardly accidental, a theory for which North by Northwest proves a perfect example. Largely recognized as one of Hitchcock's most fun and least serious outings, North by Northwest can be retrospectively seen as an attempt by Hitchcock to make, in many ways, the definitive "Alfred Hitchcock" film, intentionally encapsulating and often playing up many of the defining elements of his past films into a single, hugely enjoyable narrative.
Much of what makes the film so downright fun is its synthesis between the straightforward and the cheekily tongue-in-cheek. While, if functioning as a standalone narrative, the film could easily accomplish its task of delivering a breathless, enthralling spy thriller and mystery, the real fun is to be found in recognizing how consciously and unashamedly cinematic the whole ordeal is. The plot appears tailored to intentionally deliver the maximum quantity of thrills, laughs, edginess (notice the sensors being tested in the uncommonly explicit exchange of sexual dialogue between Grant and Marie Saint on the train) suspense and memorable set pieces (especially one involving a crop duster which viewers just may have heard of), demonstrating Hitchcock's effortless command of the cinematic form and potential to warp it towards any given motivation. As such, the entire film effectively functions as its own "MacGuffin", in the end, signifying, like the 'O' in Thornhill's name, "nothing" - a film existing just for the sake of being a film, for showing how masterfully crafted, carefully constructed and downright entertaining cinema can be. Even the film's title was allegedly chosen as a place holder, simply because it sounded catchy, and finally kept since no one could think of a better one, with no deeper significance.
This is not to say that no narrative or thematic complexity can be read within the film, but rather than it intertwines itself with this notion of willfully cultivated escapism. The most pervasive theme is the self-reflexive notion of construction - just as the plot is consciously constructed with the intent of epitomizing the heroic and spy myths, as well as Hitchcock's ever familiar 'wrong man' theme (his inclusion of Thornhill's mother, who fulfils virtually no function within the plot can also be seen as a dig at his own recurring domineering mother figures within his body of work), his film continually engages with notions of characters constructing identities and, in turn, having new identities forged for them. As Grant's Thornhill remarks, he is continually being thrust into a series of performances or roles, some deliberate, most enforced unwillingly upon him, and is only ever taken seriously by other characters in the narrative when he buys into playing up such imposed performances. However, it is also intriguing to note the series of facades and constructed identities other characters within the film assume, with many far less apparent than it would initially seem, demonstrating webs of construction within construction which ultimately add far more nuance and poignant thematic issues to the film than it is commonly given credit for.
However, the film also unquestionably functions as an independent narrative, and a stunningly constructed one, both technically and emotionally. While setpieces such as the crop duster sequence and the finale on Mount Rushmore may be the ones to (justifiably) work their way into the collective unconscious, it would take close attention paid to the smaller, less obtrusive moments in the film (Thornhill's subtle manipulation of his being continually thrust into the spotlight to save himself, the effortless, rapid fire and often hilariously self-aware nature of the vibrant script) which truly demonstrate Hitchcock's impeccable command of cinematography, editing, pacing and sound (notice the pitch- perfect alternating use of utter silence or Bernard Herrmann's timeless, triumphant musical score). Willfully superficial or not, the film truly demonstrates the power of the cinematic form to arouse sensation and genuine emotional response in the viewer, delivering a peerlessly enjoyable hybrid of thrills and humour.
Of course, as Hitchcock realized, none but Cary Grant (the master of his own constructed star persona) could have properly essayed the role of Roger 'O' Thornhill, as Grant's unquenchable charisma, astute comic timing and genuine presence keep the viewer firmly rooting for Thornhill through adversity after adversity, making each normally unbelievable character trait or ambitious line of dialogue somehow ring with endearing, charming credibility. Eva Marie Saint makes for the definitively ambiguous femme fatale figure, excelling both at devious betrayal and genuine, raw emotion, making the chemistry between the two stars exquisitely believable and crackling with truly dynamic energy. The similarly self-reflexive casting of James Mason as the antagonist (characters in Hitchcock's earlier Rope had discussed how Mason would make an excellent villain) proves entirely justified, as his sneering, oily, perpetually composed Philip Vandamm makes for a deliciously deplorable yet oddly charming foe to boo and hiss at. Finally, character actor Martin Landau deserves considerable plaudits for redeeming the role of the evil henchmen to a genuinely intriguing, confusing and viscerally frightening figure, and Jessie Royce Landis is a welcomely comical presence as Thornhill's scathing, society woman mother.
Whether taken as self-reflexive, satirical dig at his own stereotypes or an impeccably thrilling romp on its own right, Hitchcock's North by Northwest unquestionably holds up as a timeless classic of cinema, and essential viewing for all who have yet to experience it.
-10/10