Analysis of Thriller Openings - North By Northwest

Analysis of Thriller Openings - North By Northwest

North By Northwest (1959): http://www.imdb.com/title/tt0053125/

Director: Alfred Hitchcock

Writer: Ernest Lehman

North By Northwest was directed by Alfred Hitchcock, who directed a number of iconic, world renowned thrillers. The film follows an unpredictable plot which focuses on its protagonists portrayed by Cary Grant and Eva Marie Saint. The film set standards for modern thrillers and created many of the thriller conventions which are formulaic for a successful thriller.

The very first shot is of the recognisable 'Metro Goldwyn Mayer' sequence. However, rather than the traditional black background, the film uses an unconventional green background for the usually full colour Lion. This immediately suggests that the film will not follow the traditional style of a thriller, and that it may stray from traditional tropes and expectations. The use of the black and white Lion makes the opening more stylised and differentiates it from existing opening sequences.

Before the titles even begin, the audience can hear loud, dramatic music which immediately suggests that the film will be highly suspenseful. The music repeats in sound, adding various instruments as the opening progresses. This repetition draws the audience in, creating an immediate sense of tension. 

The emerging lines at first resembles some form of graph paper or chart. The use of subtle colours for the background ensures that the viewer pays full attention to the titles as they appear on screen. The titles act as a focal point for the viewer, as without them the audience would have no sense of placement within the scene.The parallel lines could also reference the title of the film 'North By Northwest' as they could relate to train tracks or roads, both of which feature in the film.

The vertical movements of the titles could reflect an elevator within a building, suggesting the film may involve business or finance. Where the lines cross, it could be seen as windows on an office block, developing the suggestion that the film is business related.


The font used for the titles adopts a white, sans serif style which juxtaposes with the straight, unchanging look of the background. The angle of the titles gives the audience a sense of perspective as the graphic matches the suggestion of the angles of the windows of a building. The solid, bold lettering could also suggest a business-like theme to the film, as the font matches that of a desk title or office nameplate.

The font remains the same for the film's title, however it now features arrows which correspond to each word's direction. The increase size of letters 'N' and 'T' could represent a road sign, giving directions to a driver and the audience. The arrows themselves also follow the established lines created by the background, adding to the straight, consistent look of the sequence.

Here the green background fades to reveal an office block, which I previously speculated. In the reflection, the viewer can notice a wide colour palette of car colours, which would suggest that the scene takes place in a city or urban environment. This would also suggest that the film takes place in the twentieth or twenty-first century, as the cars reflect the industrial progress made in these eras. This allows the audience to assume that the film takes place in reality and will likely feature industry and machines from its era.

Towards the end of the opening sequence, the office block fades to reveal people walking in, out and around a seemingly large building. The high number of extras in this scene helps to give verisimilitude to the scene, making it believable and engaging for the audience. It also provides further evidence for the viewer to assume that the film is set in an urban environment.

The various suits and other formal attire worn in this scene show that the occupants of the city are involved in business, thereby suggesting the film may feature themes of wealth and riches, a convention for both antagonists and protagonists. The varying hats and hairstyles shown in the scene allow the audience to gain an understanding as to when the film is set. For example, the trilbies seen throughout the scene immediately suggest that the film is set in the 1950's, as these were typically worn at that time.

The colours used for the civilians are kept to a subtle range, making it harder for the audience to differentiate between each person present in the scene. This adds to the busy, business-based tone of the scene, as the composition of each shot is kept full of different people, meaning the audience gain a feeling of presence within the city.

The mid shot here focuses mainly on the two women arguing over who should enter the cab. The specific use of the mid shot allows the audience to take notice of the two women, while still glimpsing the surrounding city and its other occupants. The cab also helps to give realism to the scene, as well as developing the audiences speculation as to where the scene takes place. By this, I mean that the yellow cab would typically be associated with American cities, most of all places such as New York.

List of Titles in Chronological Order:

METRO-GOLDWYN-MAYER PRESENTS

CARY GRANT

EVA MARIE SAINT

JAMES MASON

in ALFRED HITCHCOCK'S

NORTH BY NORTHWEST

CO-STARRING JESSIE ROYCE LANDIS

WITH LEO G. CARROLL / JOSEPHINE HUTCHINSON / PHILIP OBER / MARTIN LANDAU

ADAM WILLIAMS / EDWARD PLATT / ROBERT ELLENSTEIN / LES TREMAYNE

PHILIP COOLIDGE / PATRICK McVEY / EDWARD BINNS / KEN LYNCH

WRITTEN BY ERNEST LEHMAN

MUSIC BY BERNARD HERRMANN

DIRECTOR OF PHOTOGRAPHY ROBERT BURKS, A.S.C

PRODUCTION DESIGNED BY ROBERT BOYLE

ART DIRECTORS WILLIAM A. HORNING & MERRILL PYE

SET DECORATIONS HENRY GRACE & FRANK McKELVEY

SPECIAL EFFECTS A.ARNOLD GILLESPIE & LEE LEBLANC

TITLES DESIGNED BY SAUL BASS

FILM EDITOR GEORGE TOMASINI A.C.E

COLOR CONSULTANT CHARLES K. HAGEDON

RECORDING SUPERVISOR FRANKLIN MILTON

HAIR STYLES BY SYDNEY GUILAROFF

MAKE UP BY WILLIAM TUTTLE

ASSISTANT DIRECTOR ROBERT SAUNDERS

ASSOCIATE PRODUCER ROBERT COLEMAN

DIRECTED BY ALFRED HITCHCOCK