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Jack Sullivan: Hitchcock's Music The Journal of Film Music 87Volume THE 2, N JOURNALum B er 1, Fall OF 2007 FILM P AMUSICG es 87–93 ISSN 1087-7142 Cop Y ri G ht © 2007 The International Film Music Societ Y , Inc . Jack Sullivan: Hitchcock’s Music. New Haven and London: Yale University Press, 2006 [xix, 354 p. ISBN: 0300110502. $38.00] Music examples, illustrations, bibliography, index. TOM SCHNELLER ack Sullivan’s ambitious but Doubt, or The Man Who Knew Too “scores or musical analysis.” It is disappointing new book, Much. In addition to interviewing directed to “those who want to JHitchcock’s Music, is a survey composers Maurice Jarre and John experience [Hitchcock’s] work of the music used in the director’s Williams, Sullivan cites documents from a different point of view—to more than 50 feature films, as such as Hitchcock’s music notes watch as well as listen” (p. xviii). well as his television shows Alfred or Selznick’s production memos, Since Sullivan has neither the goal Hitchcock Presents and The Alfred and reveals fascinating details nor, I assume, the ability to do Hitchcock Hour. The 25 chapters such as Hitchcock’s attempt to serious musical analysis, his only proceed largely in chronological hire Shostakovich to score Topaz. tool of engaging with his subject order, from Blackmail (1929) to The passages based on archival matter is impressionistic verbal Family Plot (1976), with the focus materials, and in particular the description. Of course this would squarely on Hitchcock’s American interview with Williams, which is not be a problem if the main focus period (there is little information excerpted in the chapter on Family of the book were biographical about Hitchcock’s collaboration Plot, are genuinely interesting and or historical research—there with the composers who scored his constitute a useful contribution to are many informative books on British films, like Louis Levy or Hal film music studies. film music that do not delve Dolphe). Sullivan devotes individual However, Hitchcock’s Music into specific musical issues. But chapters to the music and post- tends to go out of tune whenever Sullivan’s goal is more ambitious. production history of a number of Sullivan departs from primary His thesis is based on a highly films with particularly significant sources to engage in discussion problematic proposition, one that scores, including Rebecca, and interpretation of the music, is reflected in the very title of the Spellbound, Vertigo, and Psycho, which unfortunately occurs for book: namely, that to a significant while grouping others under single most of the book. Sullivan is not degree, Hitchcock himself shaped chapter headings (“Sounds of War,” a musicologist—he is Professor the musical language of film scores “Hitchcock’s Fifties Comedies” etc.). of English and the director written for him between 1929 and Sullivan’s premise that of American Studies at Rider 1976 by more than 20 different “one cannot fully understand University—and his grasp of composers on two continents in Hitchcock’s movies without facing musical terminology is tenuous, a manner specific and consistent his music” is a welcome corrective as I will discuss. There are no enough to constitute a distinct to the traditional approach to music examples apart from a “musical signature.” This auteurist film criticism, which too often few single-page reproductions of perspective reduces the composer tends to ignore the music. He conductor scores by Waxman, to a musical minion whose role demonstrates convincingly that Webb and Herrmann. The book’s consisted merely in connecting “many of Hitchcock’s most original title suggests that music will be the dots provided for him by the films make music a crucial part the topic, but in his introduction, director: “Using detailed music of the narrative—sometimes the Sullivan specifies that Hitchcock’s notes, Hitchcock plotted sounds, key to the mystery . ,” as in Music is neither a work “about effects, musical emotions, and Young and Innocent, Shadow of a movie composers,” nor is it about even technical devices, then let the 88 THE JOURNAL OF FILM MUSIC composer ‘figure it out for himself’” complex to permit all manner of and that’s who should be getting (p. xvii). sly variations, which Hitchcock the sole credit for the music. exploits to the maximum . By implying that Hitchcock (p. 133). But why quibble with such manipulated composers into details: while Sullivan concedes writing the exact kind of music that “movies are a collaborative he had in mind, Sullivan is able to And who would have guessed enterprise, of course,” and that it is construct an image of “Hitchcock that the Master of Suspense “difficult to pin down Hitchcock’s as maestro” (the title of the last excelled at orchestration? exact contribution and degree of chapter) who, in the end, gets Sullivan outlines the “distinctive control in the final musical mix” to take the bow for “his” music. Hitchcockian instrumental he concludes that it is “reasonable Sullivan’s prose repeatedly conveys touches: a demonic use of the to assume that he controlled a the impression that, in addition (normally) celestial harp, creepy great deal” since “the Hitchcock to his talents as a filmmaker, organ sonorities, disappearing musical universe, using a variety Hitchcock was a composer whose brass fanfares, and distant of composers and songwriters over music evolved through distinct timpani to announce a death,” five decades, has a compelling stylistic periods: (p. 2-3) and later informs us that unity” (p. 3). What exactly does “throughout his career, Hitchcock this compelling unity consist of? favored bell-like keyboard and Just as Hitchcock learned the percussion . .” (p. 133). But art of visuals from German Hitchcock’s musical signatures expressionists in the 1920s, Hitchcock’s instrumental palette were present from the beginning, he picked up musical traits was not, it seems, restricted merely including general devices such as from the same aesthetic: . to the orchestra; he was also a counterpoint and specific effects discordant harmonies, astringent pioneer of electronic music: “The such as chimes, lonely bass and orchestration, nervous silences, timpani solos, ambiguous bitonal sudden dynamic contrasts, bass vibrations” of the score for chords, and sudden silences, but minimalist chord repetitions, Notorious “. are so intense that we they are not reducible to a single spectral pizzicato. Only when suspect Hitchcock is experimenting pattern. Indeed, they bristle with he began working for Gaumont with electronic instruments, as he tensions and oppositions: music in the mid-1930s did Hitchcock, can be a consolation or treachery, with Louis Levy as his musical did with Spellbound . .” (p. 135). a force of healing or destruction, director, begin using a more Never mind that it was Miklós revelation or obfuscation, truth British musical language, with Rózsa who proposed the use of or evasion, innocence or guilt firmer harmonies and Elgarian (p. 320). rhetoric (p. 2). an electronic instrument for the Spellbound score. As the composer recalled, “Hitchcock and Selznick One is reminded of Mark Reading Sullivan, one might hadn’t heard of the theremin, and Rutland’s memorable phrase from think that the director was a gifted weren’t quite sure whether you Marnie: “Let’s back up and see if melodist . ate it or took it for headaches, but you can turn that Mount Everest they agreed to try it out” (p. 108). of manure into a few facts.” But Hitchcock’s characteristic love Although Sullivan quotes this facts are in short supply here. themes [are] at once lyrical and understated, full of sentiment but remark, its import seems to have Beyond vague observations such slightly cool. Elegant woodwinds escaped him: it wasn’t Hitchcock as “creepy organ sonorities” or sing the tune, as they do in the who experimented with electronic the preponderance of “elegant love theme for the Hollywood instruments in Spellbound, it was woodwinds” in love themes, which variation of The 39 Steps, North by Northwest. Hitchcock used these Rózsa, just as the credit for the are so general as to be meaningless, romance themes only sparingly sophisticated motivic development Sullivan produces no hard evidence . (p. 41-42). in Notorious belongs not to for his notion that Hitchcock Hitchcock but to Roy Webb, and imparted specific characteristics to . or that Hitchcock was the “elegant woodwinds” of North the music written for his films. skillful in developing motivic by Northwest that supposedly It might be useful to determine material: epitomize the Hitchcockian love which aspects of sound and music theme were chosen by Bernard actually can be demonstrated Herrmann and nobody else. The to have been micromanaged by The main title [of Notorious] is an ingenious chromatic paragraph, only person to compose a score for Hitchcock. The director’s detailed easily recognizable yet sufficiently a Hitchcock film was the composer, sound notes indicate beyond doubt SCHNELLER 89 that he “composed” sounds in present at most a bare framework. a few general guidelines regarding the same meticulous way that he They range from simple spotting character and timbre; but to envisioned images or controlled (“Start music on cut to Norman deduce from this that Hitchcock the “jigsaw cutting” of his films, as in Interior of Police Station jail. was a “maestro” who imparted is evident from his dubbing notes Continue as camera dollies in and “compelling unity” to the scores he to Family Plot: “Outside Blanche’s covers last speech. Music ends commissioned betrays a remarkable house just a faint car or two passing on fade end title”) to general ignorance of what it takes to by, maybe a barking dog in the expressive indications (“Dear Mr. create a musical work. Among the distance, just some sounds to give Musician—Please do not make composers hired by Hitchcock us the atmosphere of the suburbs the error that this is a heavy to score his films were several of of a city .
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