A strong candidate for the most sheerly entertaining and enjoyable movie ever made by a Hollywood studio (with "Citizen Kane", "Only Angels Have Wings" and "Trouble in Paradise" running neck and neck). Positioned between the much heavier and more profoundly disturbing "Vertigo" (1958) and the stark horror of "Psycho" (1960), "North by Northwest" (1959) is Alfred Hitchcock 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"; seminal Hitchcock critic Robin Wood (in his book "Hitchcock's Films Revisited") makes an airtight case for this glossy MGM production as one of The Master's "unbroken series of masterpieces from "Vertigo" to "Marnie"." 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 U.S. 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. Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score. What more could a moviegoer possibly desire? "--Jim Emerson"