One Fan's List of the Best Hitchcock Films

On September 5, 2009 at 4:56 p.m., I published my first post for the Classic Film & TV Cafe. Suffice to say, there was a lot I didn't know about blogging. But here I am, 968 posts and ten years later, and I must say that I've had a wonderful time writing and managing the Classic Film & TV Cafe. To commemorate  the last decade, I thought it'd be fun to update my first post about my picks for Alfred Hitchcock's ten best films. To my surprise, other than re-ranking two films, I made few changes. Please note that there are spoilers in my write-ups!

1. Vertigo - This richly-layered masterpiece reveals its big twist when least expected--turning the film on its proverbial head. It causes love to blur with obsession and greed to give way to guilt and perhaps love. What we see at the bell tower is initially false, but ultimately true. I could go on and on…but, hey, whole books have been devoted to this film. I think it’s Hitch’s best job of writing (as usual uncredited) and directing…plus we get superb performances (especially from James Stewart), a marvelous San Francisco setting, an unforgettably disturbing score from Bernard Hermann, and a nifty Saul Bass title sequence.

2. Rear Window – My wife would rate this as No. 1, but she’s not writing this post! As with Vertigo, there are multiple layers to Rear Window. Taken alone, there’s nothing interesting about the mystery of the missing salesman’s wife. The movie is really about the relationship between Jeff and Lisa. Though she is rich, beautiful, and loves him (Stella describes her as “perfect”), Jeff refuses to commit to Lisa. He fears that doing so will cause him to sacrifice his exciting, globetrotting life as a magazine photographer. It is only when Lisa becomes his “legs” and joins in the investigation of the missing wife that Jeff realizes how bright and exciting she truly is. It’s part of the film’s offbeat humor, because, to the viewer, Grace Kelly's Lisa looks stunning and exciting from the moment she walks into Jeff’s apartment. To provide contrast to Jeff and Lisa’s evolving relationship, Hitchcock lets us spy—with Jeff—on his neighbors in the apartment complex. Their stories are effective mini-dramas that are funny, sad, and murderous: Miss Lonelyhearts (that’s what Jeff calls her) dresses up and sets a table nightly for an imaginary date; Miss Torso practices dancing routines in her underwear, but rejects all suitors when she throws a party (later we learn why); the composer struggles to finish his compositions at the piano in his studio apartment; and an older couple, with their little dog, sleep on the balcony because the nights are so warm. Technically, the film is one of Hitch’s finest achievements. Almost every shot is from the viewpoint of Jeff’s apartment, an amazing feat but also one that’s not distracting (unlike the ten-minute takes in Hitchcock’s Rope). Even the stagy sets work to the film’s advantage, for the apartment complex seems like its own artificial world.

3. Marnie – When I first saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--seemed thin and the characters lacked interest. Decades later, I watched it again and, to my complete surprise, I loved it! Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Sean Connery’s character generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

4. The Birds – This one functions on two levels for me. It is, of course, a masterfully directed thriller about unexplained bird attacks in a small California seaside community (I love the playground and gas station sequences). But it’s also a well-acted 1960s relationship drama about three women and their interactions with the bland, but likable, Mitch Brenner (Rod Taylor). Mitch’s mother (wonderfully played by Jessica Tandy) fears losing her son to another woman—not because of jealousy, but because she can’t stand the thought of being abandoned. Young socialite Melanie Daniels (Tippi Hedren) views Mitch as a stable love interest, something she needs as she strives to live a more meaningful life. And Annie Hayworth (Suzanne Pleshette) is the spinster schoolteacher, willing to waste her life to be near Mitch after failing to pry him from his mother. These relationships are what the film is about—the birds are merely catalysts. That’s why the ending works for me; when the relationships are resolved, the bird attacks end.

5. Strangers on a Train – One of the cleverest (and most disturbing) premises of all Hitchcock films. The carousel climax is justly famous, but I favor the cigarette lighter in the drain. It’s a perfect example of how Hitch could generate suspense from a simple situation—with potentially disastrous consequences. I think Farley Granger and Robert Walker are pretty good in the leads, but not as strong as other Hitchcock stars.

6. Shadow of a Doubt – It took this one awhile to grow on me, but that makes sense in hindsight. Shadow of a Doubt is all about gradual realization. Charlie (Teresa Wright) slowly evolves from disbeliever (those accusations toward her beloved uncle could not be true!) to one who suspects the truth to believer to would-be victim. It’s a chilling tale, all the more so because it’s set against the backdrop of a friendly Thorton Wilder town.

7. North by Northwest – I think of this as something of a lark for all involved, but that’s partially why it’s so much fun. It’s my favorite of Hitch’s man-on-the-run films and James Mason, who plays the villain straight, is the perfect foil for Cary Grant. I only wish the Mount Rushmore scenes looked a little more realistic and Roger’s mother had more scenes.

8. Psycho – It’s hard to gauge the impact of Psycho now, but I can remember how shocked I was when I first saw it. I knew Janet Leigh was a major actress and so I was more than a little shocked to see what happened to her character of Marion Crane. (By the way, I was equally shocked when Arbogast was killed…filmed from that disorienting overhead camera angle). It’s really a fine film--more than a shocker--and also offers good performances, great Hermann music, and (once again) memorable Saul Bass titles. And I guess that shower scene turned out to be a little influential.

9. Rebecca - It’s too bad that David Selznick and Hitchcock didn’t get along better, because this collaboration is an excellent, atmospheric adaptation of Daphne Du Maurier’s novel. I love how the cheeriness of the opening scenes between the future Mrs. De Winter and Maxim contrast with the later scenes at Manderley. The cast is pitch perfect with Judith Anderson and George Sanders standing out in supporting roles. Like many people, my favorite scene is when Mrs. Danvers suggests that maybe the second Mrs. De Winters should just end it all.

10. Young and Innocent and Stage Fright (tie) – I am now officially in trouble with fans of Notorious, The 39 Steps, The Lady Vanishes, and Frenzy. Those are all fine films and I would list them in my top 20. But I must confess that I enjoy the two listed in my #10 spot more than those movies. The seldom-shown Young and Innocent is a fine early man-on-the-run film with sweet performances and its share of great scenes (e.g., carving meat at the dinner table, the great tracking shot leading to the killer’s twitching eye). As for Stage Fright, I’ll say upfront that the controversial flashback doesn’t bother me at all; I don’t understand the big fuss. Stage Fright makes this list on the basis of sheer fun and a delightful cast (Jane Wyman, Marlene Dietrich, Richard Todd, Alastair Sim, Sybil Thorndike, and Michael Wilding at his most charming). I saw it late among Hitch’s films and I never fail to be entertained when I watch it again.

Honorable Mentions: Those mentioned in No. 10 that will get me in trouble for omitting…plus To Catch a Thief, Secret Agent, Blackmail, the underappreciated I Confess, and Sabotage (with the controversial bomb scene).

My 100 Favorite Films: From 20 to 11

This month, the countdown enters the final turn (as they say in horse racing). It‘s been great revisiting these motion pictures—and even better hearing from others who include them among their favorites. Please keep in mind that these films are not what I'd consider the best 100 movies ever made. They are simply one classic fan's favorites. (An underlined title means there's a hyperlink to a full review at the Cafe.)

Gene Tierney and Rex Harrison.

20. The Ghost and Mrs. Muir – For over a decade, my wife and I watched this romantic fantasy every New Year’s Eve—I still can’t think of a better way to end one year and start a new one with a loved one. Gene Tierney stars as Lucy Muir, a young widow who moves into Gull Cottage with her young daughter and housekeeper. On her first night, she receives a visit by the ghost of Captain Daniel Gregg (Rex Harrison), the sea captain who owned the house. Despite their different backgrounds, Mrs. Muir and Captain Gregg evolve from dear friends to more—to the point that the Captain advises her to forget him and find love with a “real” man. I think this is Tierney’s finest performance, as evidenced by the look on her face when she learns the truth about “Uncle Neddy” (George Sanders). She and Harrison make an engaging couple, all the more remarkable because of the limitations placed on their characters’ love. The windswept cliffs photographed by Charles Lang and the haunting music score from Bernard Herrmann contribute mightily to the romantic ambiance.

19. The Bishop’s Wife – When I first saw this film on TV in the 1970s, it was not the annual holiday favorite that it is today. Its stature has grown exponentially since then and it’s typically listed among the best films of all three of its stars: Cary Grant, Loretta Young, and David Niven. I’ll omit the plot summary, since I figure most readers have seen it. Aside from its magical moments (e.g., the angel Dudley’s visit with the professor, the ice skating scene, etc.), what I admire most about The Bishop’s Wife is Grant’s performance. For once, despite his looks and charm, he doesn’t get the girl. Furthermore, Dudley becomes jealous and, in one scene, perhaps a little petty. In the hands of a less gifted actor, this often human-like angel could have posed a problem. But Grant provides all the required character shading and still keeps Dudley likable. That was one of his greatest gifts as a performer.

The brothers (well, six of them) seek brides.

18. Seven Brides for Seven Brothers – The Oregon Territory in 1850 provides the setting for this high-energy, colorful musical about a hard-working “mountain man” who comes to town for supplies—and a wife. He quickly settles on Millie (Jane Powell), a comely—but sassy—lass who chops wood, cooks, and milks cows. For Millie, it’s love at first sight and the chance to take care of her own home. Alas, the honeymoon gets off to a rocky start when Millie discovers that Adam has six brothers. “Y’all live around here?” she asks. “Not ’round. Here,” replies one of the brothers. The score by Johnny Mercer and Gene de Paul is a tuneful one. “Wonderful, Wonderful Day” and “When You’re in Love” are bright, pretty love songs. But Mercer’s best lyrics are reserved for “Lonesome Polecat,” a woeful lament sung by the lovesick brothers (a sample line: “A man can’t sleep when he sleeps with sheep”). Michael Kidd’s spectacular choreography provides a perfect complement to the music. Kidd insisted that all the dance numbers derive from what the brothers were doing. Most critics consider the barn-raising scene to be the film’s showstopper. But I favor the dance where the brothers try to outshine their rivals from the town and the aforementioned “Lonesome Polecat,” in which the brothers cut and saw wood in unison with the musical beats.

Love this closing shot!

17. The Hanging Tree – The best of the “adult Westerns” of the 1950s stars Gary Cooper as Doc Frail, a physician in a small gold mining community. The doc has a dark past—there are rumors about a cheating wife and a burning house and, well, he does wear his holster like a gunfighter. To his own surprise, the reclusive Frail winds up sharing his cabin with a young sluice robber and a woman severely injured during a stagecoach robbery. The Hanging Tree shares many similarities with the great Anthony Mann-James Stewart Westerns like Winchester ’73, The Far Country, and Bend of the River. The hero is a man with a questionable past who is given another chance at life. In the Mann-Stewart films, the heroes are often redeemed by communities (as in Far Country and Bend of the River). In The Hanging Tree, redemption comes in the form of a woman’s love and, to an extent, a boy’s respect for his father figure. Plus, The Hanging Tree also features my favorite Western movie ballad (sung by Marty Robbins) and one of the best closing shots of any movie.

Hayley Mills.

16. The Chalk Garden – My favorite Deborah Kerr film is this offbeat, poignant tale about secrets and the passing of judgment on people, often without charity. Ms. Kerr stars as a governess (again), hired by a dowager to care for the elderly lady’s out-of-control teenage granddaughter (Hayley Mills). The girl has a fondness for setting fires and delights in threatening to burn down the gloomy mansion set among the isolated cliffs. As the story progresses, its focus shifts from the young girl to the governess—a mystery woman who paces her room at night “like a caged animal,” has only new possessions, doesn't have a picture of a loved one in her room, and receives no letters or phone calls. This quiet film is content to rely on its carefully-crafted characters and wonderful performances (to include John Mills). They will ensure that The Chalk Garden lingers with you long after its secret is revealed.

Stewart Granger reveals his identity.

15. Scaramouche – Stewart Granger plays Andre Moreau, a carefree rascal who is more interested in the pretty actress Lenore (Eleanor Parker) than in the soon-to-begin French Revolution. That changes when Andre’s closest friend Phillipe (Richard Anderson), a revolutionary activist, meets his demise in a duel with the Marquis de Maynes (Mel Ferrer). Andre vows revenge, but knows he is no match for de Maynes, the most renowned swordsman in France. Now branded a revolutionary himself, Andre takes refuge in an acting troupe. He assumes the stage role of Scaramouche, a buffoon who wears a pink-cheeked mask. To his surprise, Lenore turns out to be the small troupe’s leading lady. Her anger with him over their hot-cold romance generates laughs on the stage and Scaramouche’s fame begins to grow—but Andre’s heart is still filled with vengeance. A dandy swashbuckler from the pen of Rafael Sabatini, Scaramouche benefits from an incredibly likable cast and high-end MGM production values. The colors are vivid, the costumes ornate, and the set design impeccable. You’ll swear that the thrilling climactic swordfight (the longest in film history at 5:35 minutes…and my personal favorite) was filmed in a real Parisian theatre draped in gold, red, and white.

14. Pollyanna – Although I saw Pollyanna several times as a kid, I never fully appreciated it until I watched it as an adult. The well-known story has a young orphaned girl—an optimist if there ever was one—coming to live with her wealthy, spinster aunt circa 1913. Pollyanna pretty much shakes up the whole town, bringing lonely people together and reminding everyone that there are unexpected joys to be found in the most unlikely places. It’s a charming, uplifting tale, surprisingly devoid of schmaltz. My favorite scene is a simple one: When the town’s fire-and-brimstone pastor (Karl Malden) fears that he’s losing touch with his congregation, Pollyanna (Hayley) suggests that he focus on the joys of the Bible. Mills is delightful and there are many standouts in the supporting cast, particularly Agnes Moorehead, Adolphe Menjou, and Malden. The Walt Disney team lovingly creates a slice of Americana with a storybook town of quaint houses, white picket fences, and home-made pies. If you haven’t seen it since you were young, I heartily recommend you check it out again.

An impressive creature of horror.

13. Night of the Demon (aka Curse of the Demon) – When a professor investigating a satanic cult dies suddenly, John Holden (Dana Andrews), an American psychologist, and Joanna Harrington (Peggy Cummins), the professor’s niece, start their own investigation. Their primary suspect is the cult’s leader Dr. Julian Karswell (Niall McGinnis), who allegedly has the power to summon demons. I’ve often thought that if Alfred Hitchcock had made a horror film, it would have turned out something like Night of the Demon. Indeed, a children’s birthday party (with Karswell in disturbing clown make-up) reminds me of Hitch’s later kids’ party scene in The Birds. Director Jacques Tourneur, a Val Lewton protégé, avoids showing the demon in the film’s most famous scenes. But, in one of the great horror controversies, the demon is shown up close a couple of times—it’s pretty darn creepy! Andrews makes a bland hero and the charming Cummins is underused, but McGinnis is brilliant and Tourneur expertly balances horror and dark humor.

Jeff spies on his neighbors.

12. Rear Window – James Stewart stars as photographer L.B. “Jeff ”Jefferies, whose broken leg has kept him immobile in his apartment for seven weeks. To combat the boredom, he has resorted to spying on his apartment neighbors (the apartment building forms a square with a courtyard in the middle). Jeff’s newly acquired pastime initially disgusts both Lisa (Grace Kelly), his high fashion girlfriend, and Stella (Thelma Ritter), his insurance company nurse. But Jeff’s casual interest in his neighbors’ lives takes a dramatic turn when he begins to suspect a traveling salesman of murdering his nagging, invalid wife. As with other Hitchcock films, there are multiple layers to Rear Window. Taken alone, there’s nothing interesting about the mystery of the missing salesman’s wife. In fact, some of the loose ends are never fully resolved by the end of the film—because they don’t matter. The movie is really about the relationship between Jeff and Lisa. Though she is rich, beautiful, and loves him (Stella describes her as “perfect”), Jeff refuses to commit to Lisa. He fears that doing so will cause him to sacrifice his exciting, globetrotting life as a magazine photographer. It is only when Lisa becomes his “legs” and joins in the investigation of the missing wife that Jeff realizes how bright and exciting she truly is. It’s part of the film’s offbeat humor, because, to the viewer, Grace Kelly makes Lisa looks stunning and sexually exciting from the moment she walks into Jeff’s apartment. I love (repeat love) the apartment courtyard setting.

Alastair Sim as
Inspector Cockrill.

11. Green for Danger – At a World War II “emergency” hospital, emotions are running high due to the constant air raids and a love triangle with two of the doctors (Trevor Howard and Leo Genn) vying for the affections of one of the nurses (Sally Gray). After another nurse announces that a patient’s accidental death was really murder, she is found dead. Scotland Yard is summoned and arrives in the form of one of the cinema’s most offbeat detectives, Inspector Cockrill (Alastair Sim). Screenwriters Sidney Gilliat and Frank Lauder, who worked with Hitch on The Lady Vanishes, make brilliant use of time and place. Random explosions from the German bombs create both tension and humor (in the masterful hands of Sim). Equally atmospheric are the isolated hospital’s shadow-filled rooms, the tight hallways, and the white operating theater. It’s a spooky place, especially in the eerie, brilliantly-lit scene where Sister Bates is killed. People sometimes die in hospitals due to natural causes—so what better place to stage a murder? But what separates Green for Danger from other mysteries is its seamless integration of subtle humor in the form of its detective. It’s a shame that Sim didn’t reprise Inspector Cockrill for a sequel, or better yet, a series.

Next month, this series finally comes to an end with a Top Ten featuring two Hitch pics, two musicals, one sci fi, a very long Western, and Orson Bean explaining about “irresistible impulse.”

The 5 Best James Stewart Performances

The problem with listing the 5 best James Stewart films is that there are many more than five. But this month’s theme is the “5 Best” and I’ll stick to it. I don’t like it, though. One of my all-time favorite movies, Anatomy of a Murder (which features a superb Stewart performance), wound up as an honorable mention. And I am ready to incur the wrath of fans of The Philadelphia Story.

1. Vertigo – Stewart did his best work in the 1950s, often playing down his natural charm to portray obsessive, driven characters. His finest acting came in Hitchcock’s masterpiece, where we watch a typical Stewart “nice guy” evolve into a man obsessed with an illusion. Contrast Scotty’s (Stewart) playful banter early on with Midge with his climactic confrontation with Judy—his eyes ablaze with confusion, hate, and something akin to love. It’s a brilliant and chilling transition.

2. Rear Window – As injured photographer “Jeff” Jeffries, Stewart played a character that seems like a natural progression to Vertigo’s Scotty. Jeff is charming and likable, but his “hobby” of spying on his neighbors masks a subtle obsession with voyeurism. Stewart explores the shadows of Jeff’s personality, but never goes too far. We may question Jeff’s motives, but we always root for him.

3. It’s a Wonderful Life – Its frequent showings may have diluted its impact and Stewart’s brilliant acting job as George Bailey. However, Stewart’s post-World War II performance revealed a new maturity and depth that enable him to capture George’s desperation and passion. Those elements were present in earlier Stewart films, in particular Mr. Smith Goes to Washington, but not to the extent that the actor channels them here.

4. Winchester ’73 – Any of the five Anthony Mann-James Stewart Westerns could fall into this slot, but I opted for Winchester ’73 simply because it was the pair’s first collaboration. In all of his Mann films, Stewart plays a loner with a dark past who is redeemed by love, friendship, and/or community acceptance. These grim, hard men are a stark contrast to the easygoing Tom Destry from Destry Rides Again and proof again of Stewart’s acting versatility.

5. Harvey – Playing a much older character, Stewart shines as the eccentric Elwood P. Dowd, whose best friend is a 6’ 3.5” invisible rabbit (well, technically a pooka). As evidence of Stewart’s mastery of the role, I ask if you imagine anyone else saying this line: “Years ago my mother used to say to me, she'd say, ‘In this world, Elwood, you must be’—she always called me Elwood—‘in this world, Elwood, you must be oh so smart or oh so pleasant.’ Well, for years I was smart. I recommend pleasant. You may quote me.”

Honorable mentions: Anatomy of a Murder, Mr. Smith Goes to Washington, Destry Rides Again, and The Shop Around the Corner.

Dial H for Hitchcock: North by Northwest at the Rafael...free to the public

When I was a little girl, the only director whose name I was familiar with was Alfred Hitchcock. Though I didn't see any of his signature films of the era in a theater - Rear Window (1954), To Catch a Thief (1955), Vertigo (1958), North by Northwest (1959) - I must've seen the trailers, because I was well aware that he made exciting, colorful and glamorous movies.

Psycho (1960) was the first Hitchcock film I saw on the big screen, and it was a far cry from his elaborate VistaVision/Technicolor creations of the mid- to late 1950s. I saw Psycho second-run (I was finally old enough) at the local movie house, the Ritz Theater, with a friend who'd already seen it. Pal that she was, she nudged me just as Arbogast reached the staircase landing and a figure with a knife darted toward him...so, naturally, I shrieked long and loud ...

I was fortunate to be able to see Rear Window when it was re-released into theaters in 1984, but have seen most of Hitchcock's films on television. There's no question that his films come through powerfully on TV, but they were made to be seen on a theater screen.

This past July the Rafael Theater screened the silent version of Blackmail (1929). It was an incredible experience; the film exceeded my expectations in just about every way possible. I was surprised that it was so well-crafted and fluid and that it contained so many components that later became Hitchcock trademarks. Accompaniment by the Alloy Orchestra underscored the action and added dimension. And it was thrilling to be surrounded by an appreciative SRO audience.

Six weeks later, at noon on Sunday, September 5, the Rafael presented North by Northwest free to the public as part of its quarterly "Everybody's Classics" series. At 11:40 a.m. the line was long, but good seats were still to be had. By show time Theater 1 was packed and anticipation ran high.

Then Bernard Herrmann's pulsing score began and Saul Bass's title sequence of crisscrossing lines filled the screen. North by Northwest was upon us and in just a few exhilarating moments I was whisked into the adventure.

Possibly Hitchcock's quintessential thrill-ride, North by Northwest incorporates many familiar themes and plot elements - an innocent man accused, a romance complicated by mistrust and betrayal, a double chase - the police after the innocent man and the innocent man after the true villain(s), a backdrop of international espionage...

North by Northwest has been linked to two of Hitchcock's earlier classics, The 39 Steps (1935) and Notorious (1946), but by 1959 the director, at the height of his powers, was in a position to control just about every aspect of his films, much more so than he had been 10 and 20+ years earlier.

He was able to get his favorite actor/star, Cary Grant, for the lead. And though he was unsuccessful in enticing Princess Grace back to the screen as his leading lady, he transformed Academy Award-winning method actress Eva Marie Saint into a stunning and complex femme fatale. James Mason, Martin Landau, Leo G. Carroll and Jessie Royce Landis rounded out his first-rate cast.

Bernard Herrmann, who by now had worked with Hitchcock on several films, was just completing the score for the pilot of "The Twilight Zone" when he began work on North by Northwest. Ernest Lehman wrote a sophisticated and witty script for which he earned an Oscar nomination. Oscar winning cinematographer Robert Burks, production designer Robert F. Boyle (also Oscar-nominated for this film) and others with whom Hitchcock had worked over the years joined the collaboration.

All of these ingredients plus glorious VistaVision and Technicolor added up to create one of Hitchcock's most successful films.

I've seen North by Northwest countless times. I felt like I knew the film well, but to finally see it on a movie screen was to see it with new eyes.

Cary Grant's starpower was almost overpowering - his screen persona was that commanding. What grace, what aplomb! It's not surprising that Bernard Herrmann adjusted his score to match what he described as Grant's "Astaire-like agility."

As for special effects, the crop-dusting set piece with its truck-explosion finale and the moonlit chase across the face of Mount Rushmore have long been legendary. Via the big screen I could almost feel the heat of the explosion and smell the night air of South Dakota. As I watched, I was reminded of how the crop-dusting sequence was echoed in early James Bond films...and of Steven Spielberg's homage in Close Encounters (1977) when he nearly replicated the set design of Hitchcock's night-time Black Hills.

Of course, the suspense seemed magnified, but I also noticed the film's humor seemed more overt and the seduction scenes between Grant and Saint more intimate and...erotic. The film was so precisely paced, with suspense building, then relieved with either humor or romance, then building again...

Afterward, I couldn't help wishing I'd been able to see North by Northwest back in 1959 at the Ritz. The young girl I was then would've thought she'd been on the greatest rollercoaster ride of her life!

Alfred Hitchcock has been widely acknowledged for his amazing ability to, with the artful use of various techniques, easily maneuver an audience's emotions and point of view. It's hard to maintain much distance from Hitchcock's best films. This could be why I often enjoy experiencing his films a bit more than I enjoy understanding them.

As with all Hitchcock films, North by Northwest has a a thing or two going on beneath its glossy surface. But on that Labor Day weekend in San Rafael inside a darkened theater full of laughing, sighing, cheering people, I was a kid again for a while. Happily immersed in a suspenseful, clever, sexy adventure, I didn't even notice that, from the first note of Herrmann's score to the final shot of a darkened railroad tunnel, we were all being swept along as if aboard a sleek 20th Century Limited under the command of a brilliant and crafty locomotive engineer.