Writer Ernest Lehman’s sophisticated, inexhaustibly witty scenario for Alfred Hitchcock’s North by Northwest is a relative rarity in the director’s filmography: an original screenplay rather than an adaptation of an existing work. The film proves instantly identifiable as Hitch’s because it knowingly plunders his past triumphs – especially The 39 Steps and Notorious – to assemble an irresistible greatest-hits package. Far from feeling derivative, North by Northwest puts fresh, unexpected spins on familiar Hitchcockian tropes, situations, and character types, and his sterling crew – production designer Robert Boyle, editor George Tomasini, cinematographer Robert Burks, composer Bernard Herrmann, title designer Saul Bass – gives the film a dazzling high-gloss shine. The starry cast is top-lined by Cary Grant as ad executive Roger O. Thornhill – the aggrieved victim of mistaken identity – and Eva Marie Saint as the seductive, enigmatic Eve Kendall, who are breathlessly pursued cross-country by both cops and criminals, including a stylish, urbane villain (James Mason) and his glowering, oddly devoted henchman (Martin Landau). Chockablock with legendary set pieces – at the UN, in a cornfield, atop Mount Rushmore – North by Northwest adroitly combines comedy, suspense, action, romance, and even a dash of political commentary to create an altogether intoxicating concoction.