---
product_id: 49122755
title: "North By Northwest [DVD] [1959]"
price: "E£ 1500"
currency: EGP
in_stock: true
reviews_count: 9
url: https://www.desertcart.com.eg/products/49122755-north-by-northwest-dvd-1959
store_origin: EG
region: Egypt
---

# North By Northwest [DVD] [1959]

**Price:** E£ 1500
**Availability:** ✅ In Stock

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- **What is this?** North By Northwest [DVD] [1959]
- **How much does it cost?** E£ 1500 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.com.eg](https://www.desertcart.com.eg/products/49122755-north-by-northwest-dvd-1959)

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## Description

Product Description DVD Special Features: 39 Minute Behind-the-Scenes Documentary Destination Hitchcock: The Making of North By Northwest hosted by Eva Marie Saint and featuring Martin Landau, Screenwriter Ernest Lehman, Patricia Hitchcock and others involved in the film Feature length audio commentary by Ernest Lehman Music-only Audio Track showcasing Bernard Hermann's Score Production Stills Gallery TV Spot Trailer Interactive Menus Scene Access Language in Dolby Digital 5.1: English Language in Mono: French Subtitles: English, French, Italian, Dutch, Arabic, Spanish, German, English for the hearing impaired. desertcart.co.uk Review A strong candidate for possibly the most entertaining and enjoyable film ever made by a Hollywood studio, North by Northwest is positioned between the much heavier and more profoundly disturbing Vertigo (1958) and the stark horror of Psycho (1960). In the corpus of Alfred Hitchcock films it shows the director at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances. Which is not to say that this is just "Hitchcock Lite". It's a classic Hitchcock Wrong Man scenario: Grant is Roger O Thornhill (initials ROT), an advertising executive who is mistaken by enemy spies for a US undercover agent named George Kaplan. Convinced these sinister fellows (James Mason as the boss and Martin Landau as his henchman) are trying to kill him, Roger flees and meets a sexy Stranger on a Train (Eva Marie Saint), with whom he engages in one of the longest, most convolutedly choreographed kisses in screen history. And of course there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield (where a pedestrian has no place to hide) and the cliffhanger finale atop the stone faces of Mount Rushmore. With its sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score, what more could a filmgoer possibly desire? --Jim Emerson, desertcart.comOn the DVD: This wide-screen print of the movie looks remarkably fresh, preserving the vivid depth of the original's VistaVision cinematography. The main extra feature is a new and entertaining 40-minute documentary hosted by Eva Marie Saint in which most of the surviving cast and crew give their insights into the making of the picture (we learn for example that canny Cary Grant charged 15 cents per autograph). Screenwriter Ernest Lehman provides an audio commentary and on a separate audio-only track Bernard Herrmann's masterful score can be heard in its entirety. There's also a stills gallery and trailers. --Mark Walker

Review: An outstanding late-period Hitchcock offering Cary Grant his best ever role. - First, let me confess a little anti-North By Northwest prejudice as I settled down to watch this 1959 classic. My memory was that it had great comic moments, and some real suspense (the latter presented as much for laughs as for gasps)... but that it was a bit too much of a big-studio production to be a “real” Hitchcock on the lines of Strangers on a Train (1951) or the ultra-low budget Psycho (1960), which immediately followed it. Indeed there is strong evidence that the very experience of working on NNW’s then-stellar budget of $3.5 million (about $100 million in today's terms), prompted Hitchcock to make Psycho, with minimal crew, on his own dime. This, he thought, would be a way of getting back to the old days, in the tiny English film studios where his career began in the 1920s. He would work directly with a dedicated crew, and have control over production values, art direction, and so on. Furthermore, the quirky shots and gritty noir feel of the best 1940s and 50s work would once again come into their own. My memory — false, as it turned out — was that NNW was too glamorous, colourful and expensive to allow for any of these noir moments, or any of those hints of the perverse and twisted that is visible in so many Hitch works, even from the very beginning (The Lodger, 1927; Blackmail, 1929); becoming a trademark of mid to late career: Shadow of a Doubt (1943) and The Wrong Man (1957). Well, there are certain no shabby rooming houses, dodgy motels or dirty back streets. But that, in part, is the point: in the classic crop-dusting sequence, Hitchcock invented an entirely new cinematic idea: sundrenched noir. That notion — that menace and evil did not need the concealment of dark alleyways — is both literally and metaphorically true in NNW. Every act of wickedness, every hint of evil, takes place amongst people, and in settings, that could decorously feature in the society pages of a respectable newspaper. Villains like Phillip Vandamm (James Mason) and his sidekick Leonard (Martin “Marty” Landau) are soft-spoken, well-dressed and impeccably polite as they gracefully go about the business of murder and mayhem; they do so in settings ranging from elegant country piles to Frank Lloyd Wright masterpieces. This is homicide in the best possible taste. The film looks good, and what I mis-remembered as lavishness turns out to be Robert Boyle’s elegance, always with a hint of the decadent; and Robert Burks’ stunning cinematography. (VistaVision, a relatively new format, was perfect for the many outdoor locations). Bernard Herrmann provides the score: his percussive opening is much celebrated, but undeservedly neglected are his contrasting love themes, best heard in the forest scene near the end. Saul Bass, as witty as ever in his opening titles, adds icing to this wonderful film: in Hitchcock’s own words, not a slice of life but a slice of cake. Buy it, watch it. You’re in for a treat.
Review: perfect blend of sheer entertainment with subtextual moral relativism - During a span of 51 years, Alfred Hitchcock made 57 feature films, from "The Pleasure Garden (1925)" to "Family Plot (1976)". I've watched nearly one-third of them and should say that "North by Northwest" is the fastest, funniest and most beautiful of his caper/thrillers. Actually, the premise for "North by Northwest" is nothing new: a case of mistaken identity. An "ordinary man" accused of a murder he did not commit, and he must clear his name by assuming different identities. "The 39 Steps", "Young and Innocent", "The Wrong Man" and "Saboteur" were based on a similar theme. But what makes "North by Northwest" so special is its rarity in combining a twisted plot with a dazzling cast, great action, ingenious direction to create a yummy blend of suspense, adventure, deceit and Hitchcockian style of wry humor. If any movie shall be called "true cult classic", it is "North by Northwest". Along with lots of deadly one-liners, the film hosts a bunch of the most memorable scenes in motion picture history: the murder in the lobby of the UN building, Thornhill's witty escape in the auction house, the attack of mysterious crop-duster in the middle of nowhere, all scenes on the train, and the climatic chase atop Mt. Rushmore. Hitchcock proves here again he was master of substitution of the language of the camera for words. Take the crop-duster scene. Without any music or special effects, no other director can afford to create such a claustrophobia on an open space in broad daylight just using natural sounds and complex suspense elements in the rhythm of events and cutting. The film has a strong subtextual ideologic base too. Far ahead of its time in that it captures the political zeitgeist of late 1950s perfectly: moral relativism dominating the Cold War era. Very good epitome of how the State sacrifices the "ordinary man" for secretive causes involving the national interests. Last word: pure, plain and vibrant. Despite 50 years have passed since its making, it is still fresh and highly watchable.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B000056BB8 |
| Actors  | Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis, Leo G. Carroll |
| Aspect Ratio  | 16:9 - 1.85:1 |
| Audio Description:  | Arabic, English, French |
| Best Sellers Rank | 3,235 in DVD & Blu-ray ( See Top 100 in DVD & Blu-ray ) 331 in Crime (DVD & Blu-ray) 420 in Thriller (DVD & Blu-ray) 837 in Action & Adventure (DVD & Blu-ray) |
| Customer reviews | 4.7 4.7 out of 5 stars (925) |
| Director  | Alfred Hitchcock |
| Is discontinued by manufacturer  | No |
| Item model number  | 7321900650168 |
| Language  | English (Dolby Digital 5.1), French (Dolby Digital 2.0 Mono) |
| Media Format  | Colour, Digital Sound, Dolby, PAL, Widescreen |
| Number of discs  | 1 |
| Producers  | Alfred Hitchcock, Herbert Coleman |
| Product Dimensions  | 14 x 1.8 x 19 cm; 70 g |
| Release date  | 17 April 2019 |
| Run time  | 2 hours and 11 minutes |
| Studio  | Warner Home Video |
| Subtitles:  | Arabic, Dutch, English, French, German, Italian, Spanish |
| Writers  | Ernest Lehman |

## Product Details

- **Format:** Colour, Digital Sound, Dolby, PAL, Widescreen
- **Genre:** Drama, Mystery & Suspense/Thrillers
- **Language:** English, French
- **Runtime:** 2 hours and 11 minutes

## Images

![North By Northwest [DVD] [1959] - Image 1](https://m.media-amazon.com/images/I/914Tl4VoOEL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ An outstanding late-period Hitchcock offering Cary Grant his best ever role.
*by J***R on 25 April 2021*

First, let me confess a little anti-North By Northwest prejudice as I settled down to watch this 1959 classic. My memory was that it had great comic moments, and some real suspense (the latter presented as much for laughs as for gasps)... but that it was a bit too much of a big-studio production to be a “real” Hitchcock on the lines of Strangers on a Train (1951) or the ultra-low budget Psycho (1960), which immediately followed it. Indeed there is strong evidence that the very experience of working on NNW’s then-stellar budget of $3.5 million (about $100 million in today's terms), prompted Hitchcock to make Psycho, with minimal crew, on his own dime. This, he thought, would be a way of getting back to the old days, in the tiny English film studios where his career began in the 1920s. He would work directly with a dedicated crew, and have control over production values, art direction, and so on. Furthermore, the quirky shots and gritty noir feel of the best 1940s and 50s work would once again come into their own. My memory — false, as it turned out — was that NNW was too glamorous, colourful and expensive to allow for any of these noir moments, or any of those hints of the perverse and twisted that is visible in so many Hitch works, even from the very beginning (The Lodger, 1927; Blackmail, 1929); becoming a trademark of mid to late career: Shadow of a Doubt (1943) and The Wrong Man (1957). Well, there are certain no shabby rooming houses, dodgy motels or dirty back streets. But that, in part, is the point: in the classic crop-dusting sequence, Hitchcock invented an entirely new cinematic idea: sundrenched noir. That notion — that menace and evil did not need the concealment of dark alleyways — is both literally and metaphorically true in NNW. Every act of wickedness, every hint of evil, takes place amongst people, and in settings, that could decorously feature in the society pages of a respectable newspaper. Villains like Phillip Vandamm (James Mason) and his sidekick Leonard (Martin “Marty” Landau) are soft-spoken, well-dressed and impeccably polite as they gracefully go about the business of murder and mayhem; they do so in settings ranging from elegant country piles to Frank Lloyd Wright masterpieces. This is homicide in the best possible taste. The film looks good, and what I mis-remembered as lavishness turns out to be Robert Boyle’s elegance, always with a hint of the decadent; and Robert Burks’ stunning cinematography. (VistaVision, a relatively new format, was perfect for the many outdoor locations). Bernard Herrmann provides the score: his percussive opening is much celebrated, but undeservedly neglected are his contrasting love themes, best heard in the forest scene near the end. Saul Bass, as witty as ever in his opening titles, adds icing to this wonderful film: in Hitchcock’s own words, not a slice of life but a slice of cake. Buy it, watch it. You’re in for a treat.

### ⭐⭐⭐⭐⭐ perfect blend of sheer entertainment with subtextual moral relativism
*by S***R on 17 October 2007*

During a span of 51 years, Alfred Hitchcock made 57 feature films, from "The Pleasure Garden (1925)" to "Family Plot (1976)". I've watched nearly one-third of them and should say that "North by Northwest" is the fastest, funniest and most beautiful of his caper/thrillers. Actually, the premise for "North by Northwest" is nothing new: a case of mistaken identity. An "ordinary man" accused of a murder he did not commit, and he must clear his name by assuming different identities. "The 39 Steps", "Young and Innocent", "The Wrong Man" and "Saboteur" were based on a similar theme. But what makes "North by Northwest" so special is its rarity in combining a twisted plot with a dazzling cast, great action, ingenious direction to create a yummy blend of suspense, adventure, deceit and Hitchcockian style of wry humor. If any movie shall be called "true cult classic", it is "North by Northwest". Along with lots of deadly one-liners, the film hosts a bunch of the most memorable scenes in motion picture history: the murder in the lobby of the UN building, Thornhill's witty escape in the auction house, the attack of mysterious crop-duster in the middle of nowhere, all scenes on the train, and the climatic chase atop Mt. Rushmore. Hitchcock proves here again he was master of substitution of the language of the camera for words. Take the crop-duster scene. Without any music or special effects, no other director can afford to create such a claustrophobia on an open space in broad daylight just using natural sounds and complex suspense elements in the rhythm of events and cutting. The film has a strong subtextual ideologic base too. Far ahead of its time in that it captures the political zeitgeist of late 1950s perfectly: moral relativism dominating the Cold War era. Very good epitome of how the State sacrifices the "ordinary man" for secretive causes involving the national interests. Last word: pure, plain and vibrant. Despite 50 years have passed since its making, it is still fresh and highly watchable.

### ⭐⭐⭐⭐⭐ Excellent restoration.
*by W***8 on 30 March 2025*

This film has never looked so good. Looks like it was filmed yesterday. The upgrade to the sound of dolby atmos is a nice improvement. The 4k does show up the special effects a little bit more but it's half the charm of these older movies. Overall a worthy upgrade to your collection if this is a film you enjoy.

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*Last updated: 2026-02-12*