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

, even ghostly. Although Marion’s car journey lasts roughly the same as Scottie’s in film terms, it obviously takes place over a longer temporal span. As I have already touched upon, while Scottie is drawn toward, Marion is rushing away. She would therefore appear to be the more active character. She has, like Scottie, transgressed, but she has got away with her theft and, at least at the beginning of her journey, she has a greater sense of purpose. This is supported by Herrmann’s own observations on the scene:  ‘What you actually see is a very good-​looking girl

in Partners in suspense
Charles Barr

between 1908 and 1913, based on consistent and rigorous structural principles. Typical –​but especially neat and (still) powerful –​among the 1910 films is The Unchanging Sea, based on a poetic narrative by Charles Kingsley about members of a fishing community. The opening shot shows a young fisherman and a girl outside her home. Soon they are married, and soon after that he is called out to sea; his boat fails to return. We, unlike his wife, discover that he has been washed up elsewhere, but has lost his memory. By the time he regains it and is reunited with his wife

in Partners in suspense
Richard Allen

long shot we see the crows coming over the top of the schoolhouse and for the first time we hear the distant massing electronic sounds of growing anger as they descend upon the children [this latter phrase is underlined by Gassmann in his copy of Hitchcock’s notes because he obviously recognized it as a key element in the dramatic tenor of Sounds low to high pitch 121 f mf Screeches and Squawks f pp p f Children’s Screams f Sounds made by Girl mp Fluttering Wings Fall Screams Sobbing p f f f Car Sounds f Children’s Feet 0 10 mf 20 Door f 30

in Partners in suspense
Abstract only
Hitchcock’s secret sharer
Jack Sullivan

from Vienna is a striking predecessor of later Hitchcock films in its poetic depiction of music floating in windows and up staircases. Like Rear Window, it shows the composition of a song from conception through noodlings and rehearsals to full performance. In a poignant coda, the defeated father wanders among empty chairs in the bandstand following his son’s triumph. When a girl requests his autograph, he calls her back, and wistfully adds ‘senior’ under his name, proud of his son in spite of himself. As the lights go down on the bandstand, his silhouette moves off

in Partners in suspense
Sidney Gottlieb

unreliable (Simmon, 1993: 150–​1). Briefly, Griffith bases his film on Browning’s well-​known poem, removing the problematic and tragic elements from the original to create a consistently positive drama of the saving power of song. The young girl Pippa awakens to the sun streaming in her room, grabs her guitar and passes through the world playing and singing a song with the message ‘God’s in his heaven, and all’s right with the world’. The film is filled with operatic gestures, tilted heads and rapt facial expressions, non-​ naturalistic elements but effective indicators

in Partners in suspense