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Collabaration beetween Bernard Herrmann and Alfred Hitchcock
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- 2016 год
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Introduction
Composer Bernard Herrmann collaborated with film director Alfred Hitchcock on many of Hitchcock’s most renowned films. Herrmann wrote the scores for such Hitchcock films as The trouble with Harry (1955), The man who knew too much (1956), The wrong man (1956), Vertigo (1958), North by Northwest (1959), Psycho and Marnie (1964). But their collaboration also included The birds (1963), which had no music as such, just electronically produced bird sounds. Herrmann was then employed as sound consultant to orchestrate the twittering and screeching of birds all the way through the film. The composer wrote the score for the eighth film – Torn Curtain. But it was rejected by Hitchcock and replaced with one by another composer – John Addison, which put Herrmann’s collaboration with Hitchcock to an abrupt end.
In this paper, the following questions will be discussed: (1) how that relationship shaped the artistic endeavors of both; (2) how it affected film history; (3) how the musical choices affected the finished product; (4) how the music manipulates the audience. To illustrate the main points of the discussion the following Hitchcock films will be included in the paper: The trouble with Harry, Vertigo, North by Northwest, and Psycho.
Contents
Collaboration between Bernard Herrmann and Alfred Hitchcock 1
Introduction 2
Chapter 1. The trouble with Harry. 3
Chapter 2. Vertigo 7
Chapter 3. North by Northwest 10
Chapter 4. Psycho 12
Conclusion 14
Bibliography 15
Conclusion
In the film history and film music history, the names of Bernard Herrmann and Alfred Hitchcock are intimately interwoven. Their twelve years of collaboration occurred when the artists were at the highest of their powers, and it produced an extraordinary chain of masterpieces from The trouble with Harry to Marnie.
Hitchcock often had incredible success with his choice of musical collaborators, such as Franz Waxman and, Dimitri Tiomkin, who seemed to be able to respond to the sense of resolution and nervous excitement related to Hitchcockian impasses. However, during Hitchcock’s years of greatest commercial, critical, and artistic success no one personified the dramatic torment and somberness of Hitchcock’s schema more effectually than Bernard Herrmann. Throughout their period of collaboration, the great film composer appeared to be the perfect musical expression of the great film director’s benign wickedness.
Bibliography
1. Achenbach A., Herrmann (the) trouble with Harry: http://www.gramophone.co.uk/review/herrmann-the-trouble-with-harry
2. Brown R.S., 1994. Overtones and Undertones // Berkeley: University of California Press. Kaplan G., 2001. The trouble with Harry // The classic film scores of Bernard Herrmann: http://herrmann100.blogspot.ru/2011/06/trouble-with-harry.html
3. Maltin L., Movie review: Psycho. http://bottomlineinc.com/12-movies-that-changed-the-way-movies-are-made/
4. Neumeyer D., 1998. Tonal design and narrative in film music: Bernard Herrmann's A Portrait Of Hitch and The Trouble With Harry // Indiana Theory Review, Vol. 19, p. 116
5. Prendergast R.M., 1977. Film music – a neglected art. Norton, pp. 138-139
6. Rieger E., 1996. Alfred Hitchcock und die Musik: Eine Untersuchung zum Verhiiltnis von Film, Musik und Geschlecht // Bielefeld: Kleine Verlag, S. 164
7. Scorsese M., 2004. The best music in film: Martin Scorsese. Sight & Sound. (BFI).
8. Siegel R., 2000. Bernard Herrmann’s score to ‘Psycho’: http://www.npr.org/2000/10/30/1113215/bernard-herrmanns-score-to-psycho
9. Smith S., 2002. A Heart at Fire's Center. University of California Press
10. Spoto D., 1999. The dark side of genius: The life of Alfred Hitchcock // Da Capo Press, p. 379
11. Sullivan J., 2007. ‘Hitchcock's Music’ Scores Big on Suspense: http://www.npr.org/templates/story/story.php?storyId=7268315
12. Vertlieb S., 2002. Herrmann and Hitchcock: The torn curtain: http://www.bernardherrmann.org/articles/misc-torncurtain/
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