mother within the aura of whose absence Kane/Don Juan will
seduce women and tilt against the capitalist/industrialist/political father. Indeed,
A Lacanian take on Herrmann/Hitchcock
Figure 5.1 Herrmann’s Rosebud motif from Citizen Kane (Music Sales Group).
the Rosebud motif will reappear, quietly, in a flute solo over a moody accompaniment in the harp at the extremely significant moment in the film when Kane
makes up his mind to enter the apartment of his future mistress, who, enjoying
a taboo status Kane’s wife cannot have, replaces, at least for a
; Carolyn Conwell), which begins a race against time for Armstrong
to discover the information he needs and flee the Eastern bloc before the absence
of Gromek arouses suspicions and Michael’s true intentions are discovered.
The ageing Hitchcock saw Torn Curtain, with its contemporary political setting and fresh young stars, as his opportunity to remain relevant to the young
audiences dominating the film market, following the disappointing reception of
Marnie. Hitchcock instructed Herrmann to compose his music accordingly, to
discard his dependence upon orchestral scores
they must pay the union
once more. Scores with more musicians are more expensive than scores that feature fewer musicians, but there are other factors as well. The terms and payments
varied from decade to decade, but the current situation allows for reduced prices
for very old scores under a so-called historical scale –this essentially means that
the age of the score also figures in the calculation of reuse fees.
The true effect of this ruling can be seen in how Herrmann’s career was affected
by the AFM strike, a film political event that considerably shaped the
almost seem to prefigure Herrmann’s score for
North by Northwest (1959), for example, in the chase sequence eight minutes into
the film, where the police pursue a car they assume to be driven by the former cat
thief John Robie though it turns out that his housekeeper is actually at the wheel.
Murray was recording the score for To Catch a Thief at the same time that
Herrmann was recording The Trouble with Harry (1955), he offers an interesting
insight into the politics of studio life and Hitchcock’s method of interaction with
Paramount executives, but also about the