For half a century Alfred Hitchcock created films full of gripping and memorable music. Over his long career he presided over more musical styles than any director in history and ultimately changed how we think about film music. This book is the first to fully explore the essential role music played in the movies of Alfred Hitchcock.
Based on extensive interviews with composers, writers, and actors, and research in rare archives, Jack Sullivan discusses how Hitchcock used music to influence the atmosphere, characterization, and even storylines of his films. Sullivan examines the director’s important relationships with various composers, especially Bernard Herrmann, and tells the stories behind the musical decisions. Covering the whole of the director’s career, from the early British works up to Family Plot, this engaging look at the work of Alfred Hitchcock offers new insight into his achievement and genius and changes the way we watch—and listen—to his movies.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Music from the Dark Side of the Moon
Music for Television
The Music of Longing and Loss
Fandango on the Rocks
The Music of Terror
Hitchcock Fires Herrmann
The Music Is Back
Bright Sambas Dark Secrets
The Unhappy Finale of Hitchcock and Selznick
The PostSelznick Experiments
A Tiomkin Trio
The Redemptive Power of Popular Music
Hitchcocks Fifties Comedies
Doris Day versus the London Symphony
Other editions - View all
39 Steps Alfred Hitchcock audience beginning Bernard Herrmann Birds Blackmail British Bruno called camera cantata Cary Grant character Charlie chase chords cinema close-up cock cock’s comedy composer concert continue counterpoint crescendo cymbals dance dark David Selznick dissonance dramatic film music film’s final Franz Waxman haunted hear heroine Herr Hitch Hitchcock’s music Hitchcockian Hollywood innocence Jarre jazz John Johnnie Knew Lady Vanishes main title Manny’s Marnie melody memo Miklos Rozsa Miss Lonely montage motif movie murder music notes mysterious narrative noise North by Northwest Notorious obsession opening orchestra Paradine piano picture played prelude Psycho Rear Window Rebecca romantic Rozsa scene Schani Scottie scream screen sequence shot silence singing sinister song sound track source music Spellbound Stage Fright story strings studio suddenly suspense symphonic tells theremin Tiomkin Torn Curtain Trouble with Harry Truffaut tune Vertigo Waltzes from Vienna wanted Waxman Webb’s woodwinds