Madison Avenue advertising man Roger Thornhill finds himself thrust into the world of spies when he is mistaken for a man by the name of George Kaplan. Foreign spy Philip Vandamm and his henchman Leonard try to eliminate him but when Thornhill tries to make sense of the case, he is framed for murder. Now on the run from the police, he manages to board the 20th Century Limited bound for Chicago where he meets a beautiful blond, Eve Kendall, who helps him to evade the authorities. His world is turned upside down yet again when he learns that Eve isn't the innocent bystander he thought she was. Not all is as it seems however, leading to a dramatic rescue and escape at the top of Mt. Rushmore.Written by
In the scene after the auction, where Roger is taken into a police car, we clearly see that the inner parts of the car are mostly brown. However, in the following scene, where they arrive to Northwest station, the inside of the car is clearly gray. See more »
Right after his credit as director during the opening credits, Alfred Hitchcock is running toward the door of the city bus just as it slams shut on him! See more »
The print originally had an acknowledgement for the cooperation of the Department of the Interior and the National Park Service. But they requested it be removed after MGM violated the agreement that no violence would take place near the Mt. Rushmore monument. Some prints, however, were released with the acknowledgement still in. See more »
I've Grown Accustomed to Her Face
Music by Frederick Loewe
Lyrics by Alan Jay Lerner
Portion sung by Cary Grant (as "I've Grown Accustomed to Your Bourbon") as he's being seated behind the wheel of the Mercedes while drunk See more »
Hitchcock at his sharpest. Art and commerce in a delicious salad with all the right ingredients. A brisk screenplay by Ernest Lehman a Cary Grant that is just pure delight, Eva Marie Saint fresh out of her Oscar from "On the Waterfront" is an icy blonde with a brain. James Mason, the ultimate foreign sinister not to mention Jessie Royce Landis and Hitchcock brings Bernard Herrmann to wrap it all up in one of the most infectious scores imaginable. A real treat.
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