Book contents
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
19 - North by Northwest: Hitchcock's Monument to the Hitchcock Film
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
Summary
Made in 1959, North by Northwest comes at the end of the period during which Hitchcock's popularity was at its height. It follows Vertigo, considered by many his greatest film, and is followed by Psycho, which throws the Hitchcock film, and with it the whole Hollywood tradition, into a state of crisis. Psycho prophesies the death of the world of movies, but North by Northwest is joyfully possessed by the spirit that animated The Thirty-nine Steps, the film that twenty-five years earlier first won the whole world as Hitchcock's audience and triumphantly established the “Hitchcock thriller” as a genre. North by Northwest perfectly recaptures the earlier film's exhilarating mood, building to a climax that leaves most audiences, even today, cheering on their feet. It is the definitive Hitchcock thriller, providing a bounty of matchless pleasures. Indeed, it goes beyond The Thirty-nine Steps by attaining an ending that is perfectly happy.
In The Thirty-nine Steps, the poignant death of Mr. Memory gives the union of Hannay and Pamela a melancholy aspect that compromises its joyfulness. The film is further haunted by the tragic fate of Margaret, the crofter's wife, the woman who gives Hannay the overcoat that stops the bullet aimed at his heart. Margaret is a woman of intelligence, passion, and spiritual depth, haunted by the knowledge that suffering is her lot; she is an ancestor of the tragic heroines of The Wrong Man and Vertigo. Margaret grants Hannay her blessing, as does the dying Mr.
- Type
- Chapter
- Information
- The 'I' of the CameraEssays in Film Criticism, History, and Aesthetics, pp. 241 - 253Publisher: Cambridge University PressPrint publication year: 2003