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North by Northwest
Hitchcock's best-loved romantic thriller is one of the most influential works ever made in the genre - an enticing cocktail of suspense, comedy, eroticism and danger.
Roger Thornhill is a suave but stiff-necked Madison Avenue executive, who finds himself mistaken for a US intelligence agent, and dragged into life-threatening escapades. His consolation is that he gets to romance an elegant female spy, but he soon learns that the game of international intrigue is played for high stakes. Ernest Lehman provides an introduction to this souvenir volume, published to coincide with the centenary of Hitchcock's birth, in which he describes the course of his cherishable collaboration with the master of suspense.
Roger Thornhill is a suave but stiff-necked Madison Avenue executive, who finds himself mistaken for a US intelligence agent, and dragged into life-threatening escapades. His consolation is that he gets to romance an elegant female spy, but he soon learns that the game of international intrigue is played for high stakes. Ernest Lehman provides an introduction to this souvenir volume, published to coincide with the centenary of Hitchcock's birth, in which he describes the course of his cherishable collaboration with the master of suspense.
148 pages, Paperback
First published January 1, 1959
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Displaying 1 - 22 of 22 reviews
February 22, 2024
Another perfectly captured screenplay, and this time of one of Alfred Hitchcock's greatest movies; a movie that is listed in most Top 100 movies of all time lists, 'North by Northwest'. The dialogue is fast and furious, especially the male-female banter between leads Cary Grant Eva Marie Saint. The dialogue captures Grant perfectly and the stage directions epitomise the attention to detail beloved of Hitchcock. Plus there's one of the most famous scenes in 1950s movie making history:
This romantic thriller, which is very much more thriller than romantically minded, starts as it means to go on with advertising executive Cary Grant, in a case of mistaken identity, being hounded by organised crime and the police forces. Zipping across America to a classic Hollywood-esque climax at an American monument, it almost feels like a dedication to the golden Hollywood years earlier in the 20th century.
What I will say for play and movie fans, is pick up a film script or a screenplay, they are captivating reads, so hard to put down, I purposelessly tried to put this down on three occasions only to have to pick this back up again, and ended up reading it all, within a day (about three hours reading time). 7 out of 12 - firm Three Star read. I'll leave Cary Grant with the last words...
2020 read
This romantic thriller, which is very much more thriller than romantically minded, starts as it means to go on with advertising executive Cary Grant, in a case of mistaken identity, being hounded by organised crime and the police forces. Zipping across America to a classic Hollywood-esque climax at an American monument, it almost feels like a dedication to the golden Hollywood years earlier in the 20th century.
What I will say for play and movie fans, is pick up a film script or a screenplay, they are captivating reads, so hard to put down, I purposelessly tried to put this down on three occasions only to have to pick this back up again, and ended up reading it all, within a day (about three hours reading time). 7 out of 12 - firm Three Star read. I'll leave Cary Grant with the last words...
2020 read
February 16, 2020
It's a shame screenwriters rarely become household names. We remember directors and score composers, and of course the actors, but the writers--the ones most responsible--go largely unnoticed. I had no idea, for example, that Ernest Lehman didn't just pen the script for North By Northwest, one of Hitchcock's sexiest and most intriguing thrillers, but also many of the most iconic films in history. These include The King and I (1956), West Side Story (1961), The Sound of Music (1965), Who's Afraid of Virginia Woolf? (1966), and Hello, Dolly! (1969).
As detailed in the introduction, North By Northwest was very much Lehman's baby. He was introduced to Hitchcock by Bernard Herrmann and the two instantly hit it off. Lehman told his new friend that he wanted to write "the Hitcock picture to end all Hitchcock pictures." Something with "wit, glamour, sophistication, suspense, and many different colorful locals." After a year of toil, severe writers block, and yes feedback from Alfred H. himself, he turned in the final copy and the rest is history.
From a writer's perspective, it's hard not to admire Lehman's carefully crafted dialogue. He places the audience in the midst of it all, wielding confusion effortlessly as a source of mystery and intrigue. It matches the experience of the characters, who also find themselves fish out of water.
Then, Eve is introduced and the premise goes from smoldering intensity to steamy broil. Eve and Thornhill's flirtations get so hot that at least one line had to be dubbed over to bypass censors. Even by today's standards, their subtext-driven innuendo can make a person blush. Of course, there's also a number of Hitchock worthy twists to keep the story fresh and unexpected all the way to the dramatic finale. I don't know if it's the Hitchcock movie to end all Hitchcock movies, but it certainly plays all the hits and cranks them up to eleven.
Now that I know his filmography, I can see Lehman's fingerprints clearly in some of the most memorable cinematic characters. The Sound of Music in particular is full of that subtext-driven undercurrent between Maria and Captain von Trapp. The Baroness always knows how to carefully phrase something so it drips with multiple meanings. He transforms minor details--such as pink lemonade--into character-revealing, plot-enhancing devices.
I don't read a lot of screenplays, which is a shame, but I'm really glad I got a hold of this one. In addition to merely seeing brilliant dialogue on the page, reading the action directions and scene descriptions create a new kind of experience with visual storytelling. Though it is short, the introduction detailing the script's backstory is also a treat. Highly recommended!
As detailed in the introduction, North By Northwest was very much Lehman's baby. He was introduced to Hitchcock by Bernard Herrmann and the two instantly hit it off. Lehman told his new friend that he wanted to write "the Hitcock picture to end all Hitchcock pictures." Something with "wit, glamour, sophistication, suspense, and many different colorful locals." After a year of toil, severe writers block, and yes feedback from Alfred H. himself, he turned in the final copy and the rest is history.
From a writer's perspective, it's hard not to admire Lehman's carefully crafted dialogue. He places the audience in the midst of it all, wielding confusion effortlessly as a source of mystery and intrigue. It matches the experience of the characters, who also find themselves fish out of water.
Then, Eve is introduced and the premise goes from smoldering intensity to steamy broil. Eve and Thornhill's flirtations get so hot that at least one line had to be dubbed over to bypass censors. Even by today's standards, their subtext-driven innuendo can make a person blush. Of course, there's also a number of Hitchock worthy twists to keep the story fresh and unexpected all the way to the dramatic finale. I don't know if it's the Hitchcock movie to end all Hitchcock movies, but it certainly plays all the hits and cranks them up to eleven.
Now that I know his filmography, I can see Lehman's fingerprints clearly in some of the most memorable cinematic characters. The Sound of Music in particular is full of that subtext-driven undercurrent between Maria and Captain von Trapp. The Baroness always knows how to carefully phrase something so it drips with multiple meanings. He transforms minor details--such as pink lemonade--into character-revealing, plot-enhancing devices.
I don't read a lot of screenplays, which is a shame, but I'm really glad I got a hold of this one. In addition to merely seeing brilliant dialogue on the page, reading the action directions and scene descriptions create a new kind of experience with visual storytelling. Though it is short, the introduction detailing the script's backstory is also a treat. Highly recommended!
July 22, 2025
در «شمال به شمالغربی»، هیچکاک نه صرفاً یک تریلر مهیج ساخته، بلکه نمایشیست از هویتی که ساخته میشود، دزدیده میشود، و نهایتاً به دست میآید. در این فیلم، مرز میان واقعیت و وانمود، میان کنش و کنشنمایی، به باریکی موییست؛ چرا که قهرمان داستان، «راجر تورنهیل»، مردیست که در گردابِ سوءتفاهمی هویتی گرفتار میشود و باید در جهانی پر از سایه و شُبهه، معنای خود را از نو بسازد.
فیلم در ظاهر داستان تعقیب و گریز است: مردی معمولی به اشتباه برای یک جاسوس گرفته میشود و مجبور است از چنگال یک شبکه جاسوسی فرار کند. اما اگر دقیقتر نگاه کنیم، با تمهایی بسیار عمیقتر مواجهیم. راجر تورنهیل، کارمند تبلیغاتیِ پرگو و سطحینگر، کمکم از زیر لایههای شوخطبعی و اضطراب، بدل میشود به مردی که میفهمد در جهانی پر از دروغ، باید واقعیت را با شهامت پس گرفت.
هویتی که هیچکاک به آن میپردازد، تنها به معنای اسمی که روی آدم گذاشتهاند نیست؛ بلکه در مورد امکان ایستادن در برابر دنیاییست که مدام ما را میسازد، جعل میکند، تعقیب میکند. راجر تورنهیل اگرچه به اشتباه بهجای یک جاسوس قرار گرفته، اما همین نقش تحمیلی، او را به مردی بدل میکند که هرگز نبوده؛ مردی که بالاخره معنا دارد، مسئولیت دارد، و حتی عشق را درمییابد.
فیلم با همان دقتی ساخته شده که بهعنوان امضای هیچکاک میشناسیم. هر نما، هر برش، هر سکوت، حامل معنای ثانویهایست. از سکانس معروف حمله هواپیما در مزرعهٔ خالی، تا تقابل نهایی بر کوه راشمور، فیلم پر از تصاویریست که در حافظه باقی میمانند. این لحظات، بیشتر از اکشن، حامل مفاهیم روانشناختیاند: تهیبودن فضا، بیهویتی، تهدیدی که از ناکجاآباد میآید.
از دیگر عناصر درخشان فیلم، ایوا ماری سنت است؛ زنی که دوگانهگیِ نقش زنانه در فیلمهای هیچکاک را در اوج به نمایش میگذارد: هم اغواگر، هم آسیبپذیر، هم معشوقه، هم مأمور. او همانقدر هویت گمشده دارد که راجر. در کنار او، جیمز میسن با بازی مهارشدهاش، خصم باوقاریست که در مرز میان نجابت و تهدید حرکت میکند.
و در پسزمینهٔ این ماجرا، «جنگ سرد» به شکل نامرئی حضور دارد. مأموران دولتی، هویت جعلی، مأمور دوگانه، جاسوسهای بدون چهره؛ فیلم بدون آنکه سیاسی شود، تمام فضای پارانویای آمریکای دهه ۵۰ را تنیده در ساختار روایی خود دارد. اینجا، حتی حقیقت هم نوعی ترفند است، و راستی، کالایی کمیاب.
در نهایت، فیلم «شمال به شمالغربی» را میتوان شاهکاری دانست درباره ساختن خویشتن در دنیایی که هیچکس خود واقعیاش نیست. فیلمی که از دلِ سوءتفاهم، معنا استخراج میکند. راجر تورنهیل، در انتهای فیلم، شاید هنوز همان مرد عادی باشد، اما حالا خودش را انتخاب کرده. این همان نقطهایست که تعقیبوگریز، بدل به سفر قهرمانی میشود. نه برای نجات جهان، بلکه برای یافتن خویشتن.
و مگر نه اینکه بسیاری از ما نیز، زیر بار سوءتفاهمهای جهان، به دنبال اسمی هستیم که واقعاً مال خودمان باشد؟
فیلم در ظاهر داستان تعقیب و گریز است: مردی معمولی به اشتباه برای یک جاسوس گرفته میشود و مجبور است از چنگال یک شبکه جاسوسی فرار کند. اما اگر دقیقتر نگاه کنیم، با تمهایی بسیار عمیقتر مواجهیم. راجر تورنهیل، کارمند تبلیغاتیِ پرگو و سطحینگر، کمکم از زیر لایههای شوخطبعی و اضطراب، بدل میشود به مردی که میفهمد در جهانی پر از دروغ، باید واقعیت را با شهامت پس گرفت.
هویتی که هیچکاک به آن میپردازد، تنها به معنای اسمی که روی آدم گذاشتهاند نیست؛ بلکه در مورد امکان ایستادن در برابر دنیاییست که مدام ما را میسازد، جعل میکند، تعقیب میکند. راجر تورنهیل اگرچه به اشتباه بهجای یک جاسوس قرار گرفته، اما همین نقش تحمیلی، او را به مردی بدل میکند که هرگز نبوده؛ مردی که بالاخره معنا دارد، مسئولیت دارد، و حتی عشق را درمییابد.
فیلم با همان دقتی ساخته شده که بهعنوان امضای هیچکاک میشناسیم. هر نما، هر برش، هر سکوت، حامل معنای ثانویهایست. از سکانس معروف حمله هواپیما در مزرعهٔ خالی، تا تقابل نهایی بر کوه راشمور، فیلم پر از تصاویریست که در حافظه باقی میمانند. این لحظات، بیشتر از اکشن، حامل مفاهیم روانشناختیاند: تهیبودن فضا، بیهویتی، تهدیدی که از ناکجاآباد میآید.
از دیگر عناصر درخشان فیلم، ایوا ماری سنت است؛ زنی که دوگانهگیِ نقش زنانه در فیلمهای هیچکاک را در اوج به نمایش میگذارد: هم اغواگر، هم آسیبپذیر، هم معشوقه، هم مأمور. او همانقدر هویت گمشده دارد که راجر. در کنار او، جیمز میسن با بازی مهارشدهاش، خصم باوقاریست که در مرز میان نجابت و تهدید حرکت میکند.
و در پسزمینهٔ این ماجرا، «جنگ سرد» به شکل نامرئی حضور دارد. مأموران دولتی، هویت جعلی، مأمور دوگانه، جاسوسهای بدون چهره؛ فیلم بدون آنکه سیاسی شود، تمام فضای پارانویای آمریکای دهه ۵۰ را تنیده در ساختار روایی خود دارد. اینجا، حتی حقیقت هم نوعی ترفند است، و راستی، کالایی کمیاب.
در نهایت، فیلم «شمال به شمالغربی» را میتوان شاهکاری دانست درباره ساختن خویشتن در دنیایی که هیچکس خود واقعیاش نیست. فیلمی که از دلِ سوءتفاهم، معنا استخراج میکند. راجر تورنهیل، در انتهای فیلم، شاید هنوز همان مرد عادی باشد، اما حالا خودش را انتخاب کرده. این همان نقطهایست که تعقیبوگریز، بدل به سفر قهرمانی میشود. نه برای نجات جهان، بلکه برای یافتن خویشتن.
و مگر نه اینکه بسیاری از ما نیز، زیر بار سوءتفاهمهای جهان، به دنبال اسمی هستیم که واقعاً مال خودمان باشد؟
February 19, 2020
نمیدونم چرا مترجم دیالوگها رو به زبان معیار ترجمه کرده بود. انگار کاراکترها همه دارن سخنرانی میکنند!
June 24, 2007
Fucking perfect.
March 8, 2018
really liked it! first time reading a screenplay and it was very interasting, and the story very engaging!!
i didnt understand the title though, so if someone could shed a light on me that'd be great!
i didnt understand the title though, so if someone could shed a light on me that'd be great!
August 31, 2023
4.5. The film is a 5 imo thanks to Hitchcock’s directing but… as a script it’s only great
January 11, 2009
I read this as an introduction to screenplays, and found that I enjoyed it better than the movie! The wit and humor are often lost in the action, and Lehman is a masterful writer. I also found out what a diverse career he has had, writing screenplays for movies like North by Northwest to The Sound of Music. Cool! I loved this.
April 22, 2014
A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive.Not all is as it seems however, leading to a dramatic rescue and escape at the top of Mt. Rushmore.
November 3, 2015
Fab film!
June 22, 2024
honestly couldn't fall asleep when i read this before going to bed because the momentum of reading the scenes was too crazy. love how it twists and turns and always keeps you on your toes. obvs hitchcock's directing deservedly gets the praise here, but lehman's witty dialogue and his writing of action sequences and tense build-up is just as cinematic underneath all of that.
December 29, 2019
It's Ernest Lehman writing the Hitchcock picture to end all Hitchcock pictures. What's not to love? It's kind of dated now, but still holds up ridiculously well. The balance of suspense, romance and humor is always entertaining.
April 23, 2025
This is the screenplay, which was published as part of the release of the 1959 Hitchcock film. I had seen the movie at least 20 times before I picked this up at a library sale. I love the film, so a ten cent copy of the screenplay was worth the money.
May 29, 2022
4 stars. The dialogue seemed to have been written specifically for Gary Grant. Very entertaining screenplay to read!
December 29, 2007
Lately I have been reading an increasing number of screenplays; of films I've loved, films I've hated, and films I've never seen. I'll admit that I am reading them with educational purposes in mind, but that doesn't preclude the basic enjoyment of a good story.
This one falls into the category of films I've loved: my favorite Hitchcock film.
This one falls into the category of films I've loved: my favorite Hitchcock film.
March 23, 2013
A story about someone who works in advertising is mistaken to be a government worker which lead some spies to try to kill him in several occasions as he was able to run away from them by chance. What he will do in order to get his freedom and live a normal life !
March 9, 2007
يكي از بهترين فيلمنامه هايي كه خوانده ام تا به حال ... اصلا نديده عاشق فيلم شدم
Read
September 20, 2008در صورت تمایل، جهت مشخصات فیلمی که بر اساس این کتاب ساخته شده است؛ میتوانید از لینک زیر استفاده بفرمایید
http://www.imdb.com/title/tt0053125
November 22, 2011
If you are looking for an example of a tightly plotted script with snappy dialogue then North by Northwest is what you should read!
June 29, 2012
Great movie too, albeit too heavy on the romance.
August 8, 2022
One of the best screenplays ever.
Want to read
March 10, 2019Synopsis: who hasn't seen Hitchcock's romantic thriller? Roger Thornhill is a Madison Ave executive who finds himself mistaken for US intelligence.
Displaying 1 - 22 of 22 reviews