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Sidney Gottlieb

the creation of a work of art, a person, a reputation, a couple and a community. It is ironic that Rohmer and Chabrol find Waltzes from Vienna so distasteful, calling it a ‘real disaster’, and seconding Hitchcock’s own admission that ‘I hate this film’ (Rohmer and Chabrol, 1979: 37). While it is not at all concerned with metaphysics, morals, guilt, pain, alienation and evil, as they require of a true Hitchcock film, it is intricately structured around a variety of exchanges, an element that they more than any other critics place at the core of Hitchcock’s works

in Partners in suspense
Kevin Clifton

-flat is a minor 3rd. The next two eight notes in both arpeggios are mirror inversions:  B-flat down to G-flat || G-flat up to B-flat. Herrmann saturates the score with this inversional dyad by means of a contrapuntal technique called a voice exchange, a procedure that interchanges two tones between two musical agents (in this case,  arpeggios). The term voice exchange is a perfect metonym for the film, and the Prelude effectively sets the stage for the upcoming plot of ‘mixed-​up’ identities. In addition, notice that the two harmonic dyads just before each voice

in Partners in suspense
Sound, music and the car journey in Vertigo (1958) and Psycho (1960)
Pasquale Iannone

’s protagonist imagines what various characters must be making of her behaviour. Durgnat has referred to the scene as ‘a silent film carrying a radio play’ and said that Marion’s expressions serve to link image-​and sound-​ tracks (2002: 90). She first imagines an exchange between the car salesman and the policeman. Once again the voices retain the same texture as the earlier episode: an otherworldly feel, removed from reality (for instance, there are none of the diegetic sounds one might expect from a car lot on a busy street). Then Hitchcock presents a wider range of voices

in Partners in suspense
A figurative dance suite
David Cooper

in the Journal of Film Music ‘Herrmann Special’ (2003), a twelve-​minute segment from the early part of the film where Scottie sees Madeleine for the first time. In this, subsequent to his meeting with Gavin Elster, he tails her as she passes from Ernie’s Restaurant to the McKittrick Hotel, with a soundtrack using Herrmann’s non-​diegetic score broken only by traffic noise and a brief exchange between Scottie and the art gallery attendant. This is around ten minutes of almost continuous music –​built from ten discrete but related cues that together create a hybrid

in Partners in suspense
Post-mortem
William H. Rosar

, talking it over in his bedroom, because that’s where his music room was. He said, “Go to the other line, I  want you to hear this, because Alfred Hitchcock is on the line,” and he did get a chewing out! They had a yelling conversation between them, yes, both of them, they both had it on, and still never resolved it!’ (Music for the Movies: Bernard Herrmann, 1992). Something of that exchange would seem to have been conveyed by Herrmann in his interview with Royal S. Brown almost ten years later: He just wanted pop stuff, and I said, ‘No, I’m not interested.’ I told him

in Partners in suspense