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In North by Northwest film The adman Roger Thornhill suspects no evil when he is suddenly abducted from the blue of agents. The kidnappers are a fatal mistake: They believe Roger was a spy named George Kaplan. The enemy agent Phillip Vandamme and his accomplice Leonard get from Thornhill but nothing out, because the do not know what it is actual. After they have made the alleged Kaplan drunk, put him into a car to kill him in a staged accident. But the police can Thornhill save it from death. Only his story believes him no one, including his mother not, which is not surprising given the lack of evidence. So Thornhill has no choice but to continue to escape. Fifty years on, you may say that Hitchcock’s sleek, wry, paranoid thriller caught the zeitgeist perfectly: bloodless conflict shadiness, secret marketers of electricity, urbane modernism, the ant-like bustle of metropolis lifestyles, and a touch of dread at the back of the sharp suits of affluence. Cary provides’s Roger Thornhill, the film’s sharply dressed advert exec who is sucked into a vortex of fallacious identification, surely wouldn’t be out of the area in ‘Mad guys’. but there’s not anything dated about this ideal typhoon of talent, from Hitchcock and furnish to creator Ernest Lehman (‘sweet smell of fulfillment’), co-stars James Mason and Eva Marie Saint, composer Bernard Herrmann and even fashion designer Saul Bass, whose opening-credit collection still manages to ship a shiver down the spine.