Hitchcock's Music [Hardcover]

Jack Sullivan (Author)

Book Description

Publication Date: December 1, 2006

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.

Editorial Reviews

Review

"A wonderfully coherent, comprehensive, groundbreaking, and thoroughly engaging study of perhaps the most underexamined important element of Hitchcock''s artistry."—Sidney Gottlieb, editor of Hitchcock on Hitchcock: Selected Writings and Interviews

(Sidney Gottlieb )

"Hitchcock''s sophistication about and control of film music is an important aspect of his greatness, and one that separates him from other pantheon directors. This deeply researched and keenly written book fills a void and should be indispensable to passionate Hitchcock scholars—and fans."—Patrick McGilligan, author of  "Alfred Hitchcock: A Life in Darkness and Light"

(Patrick McGilligan )

"Hitchcock was a master of film music as well as cinema suspense, and Sullivan''s spirited study lives up to its fascinating topic on every page. A milestone in Hitchcock criticism."—David Sterritt, author of "The Films of Alfred Hitchcock" 

(David Sterritt )

"Jack Sullivan shows in arresting detail how Hitchcock and his gifted composers used music ingeniously not only to build suspense and punctuate the action but to amplify the whole emotional atmosphere of his films."—Morris Dickstein, CUNY Graduate Center

 

 

 

 

 

(Morris Dickstein )

"A richly evocative study that combines important new scholarship with sparkling sensibility. Sullivan vividly documents Hitchcock''s restless eclecticism and bold interweaving of musical styles—popular, classical, avant-garde, and electronic."—Camille Paglia, author of Sexual Personae and The Birds (BFI Film Classics)

(Camille Paglia )

"We might think Hitchcock needed music less than other filmmakers, but Jack Sullivan, in this lovingly researched and articulated book, shows he needed it more. Music said everything Hitchcock couldn''t say, even in pictures, and Mr. Sullivan expertly proves that the master''s every soundtrack tells an intricate and often romantic story."—Michael Wood, Princeton University



 

(Michael Wood )

About the Author

Jack Sullivan is director of American Studies and professor of English at Rider University.  He is the author of New World Symphonies: How American Culture Changed European Music, published by Yale University Press. He lives in New York City.

Product Details

• Hardcover: 384 pages
• Publisher: Yale University Press; 1ST edition (December 1, 2006)
• Language: English
• ISBN-10: 0300110502
• ISBN-13: 978-0300110500
• Product Dimensions: 9.2 x 6.1 x 1.2 inches
• Shipping Weight: 12.8 ounces
• Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
• Amazon Best Sellers Rank: #1,595,141 in Books (See Top 100 in Books)
  • #54 in Books > Arts & Photography > Music > Theory, Composition & Performance > Sheet Music & Scores > Composers > Sullivan

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Customer Reviews

Most Helpful Customer Reviews

14 of 14 people found the following review helpful:

5.0 out of 5 stars Listening to the Master, January 9, 2007

By 

R. Hardy "Rob Hardy" (Columbus, Mississippi USA) - See all my reviews
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This review is from: Hitchcock's Music (Hardcover)

Probably the most memorable musical sound in cinema is the slashing strings of the shower scene in _Psycho_, a supreme example of how music can heighten image. It isn't too surprising that the example should come from a Hitchcock film; over the past two decades, critics and academics have paid increasing attention to how Hitchcock used music because he was so good at doing so. In _Hitchcock's Music_ (Yale University Press), Jack Sullivan, a professor of English and of American studies, has given a guide to the music (or frequently, silence) in all of Hitchcock's sound films, with stories about Hitchcock's work with composers and how soundtracks became formed as particular pictures progressed. Sullivan knows the films better than almost all of his readers will, and while much of Hitchcock's music is memorable, Sullivan writes of it in such detail that even Hitchcock fans will find themselves wishing that they had instant recall of each particular phrase or tune. I myself went back to listen to the early talkie _The 39 Steps_ after reading Sullivan's chapter about it, because although I have seen the movie many times, I could not remember the music or how important it was to the plot of the film. This then is a wonderful reference book, and it will drive Hitchcock fans back into their DVDs to attend to the master with new ears.

Sullivan begins, of course, with Hitchcock's first picture after his silent days, _Blackmail_. Hitchcock used the music in this initial film the same way he would use it throughout his career, like using a harp for a demonic sequence (when harps are usually angelic) and using cheerful music as an irony to what is being shown on the screen. Using a musical tune as an important part of the plot is one of Hitchcock's many tricks. In _The Lady Vanishes_, the tune itself is Hitchcock's "MacGuffin", the otherwise unimportant device upon which the whole plot turns, because the tune is an encryption of a state secret. In _Shadow of a Doubt_, "The Merry Widow" waltz is intricately important to the plot, leading to the identification of Uncle Charlie as a murderer. Hitchcock was brilliant at using "source music", the kind of music that might be heard by the characters in a scene as a theater orchestra or a radio plays nearby. In _Rear Window_, there is traditional movie music from an invisible source only at the very end of the movie; all the rest of the music has been from radios and phonographs owned by the people being viewed through the windows.

There are fine stories here about the famous Hitchcock / Bernard Herrmann collaboration and its eventual break-up, as well as about David O. Selznick's meddlesome but often valuable recommendations on music and other aspects of _Rebecca_, Hitchcock's first Hollywood effort and his first use of a lush Hollywood score. Among the wonderful anecdotes are those about _Psycho_ itself, and how Herrmann's stubborn insistence on getting his music into the film kept the movie as a feature rather than a television show. Hitchcock had not wanted any music in the shower scene, for instance, but Herrmann asked him to view the scene without music, followed by a version with music. Hitchcock quickly settled on the version with music, whereupon Herrmann made the mock-petulant remark, "But you requested that we not add any music," getting the reply, "Improper suggestion, my boy, improper suggestion." Best of all, _Hitchcock's Music_ concentrates attention on a vital aspect of Hitchcock's success, one that is not always appreciated. Sullivan certainly appreciates the innovative and complicated ways Hitchcock worked musically, and any fan of the movies will fine new reasons here to admire them.

11 of 12 people found the following review helpful:

4.0 out of 5 stars Fascinating book on the film composer's role and Hitchcock's role in the scores for his films, December 31, 2006

By 

WTDK "If at first the idea is not absurd, the... (My Little Blue Window, USA) - See all my reviews
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This review is from: Hitchcock's Music (Hardcover)

If you're a Hitchcock fan, you already know how well Hitchcock used music in his films. Hitchcock was the ultimately leader/collaborator--he knew what he wanted for his films and had a strong instinct which collaborators would do the best job of bringing their talent to his films. His work with Herrmann is celebrated but he worked well with other film composers as well. When Hitchcock's instincts betrayed him (as the author of this book points out) it's usually because his commercial instincts took the lead over his artistic ones; "Torn Curtain" a flawed Hitchcock film with a number of marvelous set pieces would have been much improved with the original music that Bernard Herrmann composed. Hitchcock fired Herrmann when he didn't deliver a commercial score with a hit song or melody that could pull in a lucrative profit. Sullivan also accurately points out that while Hitchcock was great at collaboration he ultimately was THE boss and would get rid of things he felt didn't fit in with his decisions (right or wrong) for a film.

Hitchcock at his best (as Sullivan accurately points out) knew the impact of music to enhance a film not distract from it. Once Hitchcock had control of his films, he pushed the various composers he worked with (from Steiner, Rozsa to Herrmann)to follow their muse just making sure that it fit in with his ultimate vision for the film. He may have been a micromanager but he gave the composers that worked on his films tremendous freedom on some projects. For example Herrmann envisioned the "score" for "The Birds" to primarily be the sounds (electronically created) of the creatures themselves. Herrmann's instincts were in perfect synch with Hitchcock's and the result was a great film "score" that perfectly complimented the film.

After Herrmann and Hitchcock parted ways there really wasn't a composer that produced work that truly enhanced Hitchcock's films (although the single collaboration with composer John Williams came close I personally feel that Jerry Goldsmith would probably have been a better choice for "Family Plot")which is too bad--when the quality of his films fell and as audience taste changed, Hitchcock was increasingly vunerable. A solid score by a composer that understood his films well would have done a lot to improve some of Hitchcock's lesser, later films.

The book may be a bit too academic for casual film fans so just be aware of that. I'd suggest taking a look at the book to see if it will appeal to you prior to buying it.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Amazing book on the music of Hitchcock's films, May 7, 2007

By 

Bob Shaw "computer musician" (Fairmont, WV USA) - See all my reviews

This review is from: Hitchcock's Music (Hardcover)

Author Jack Sullivan is a modern-day prophet. His writings about horror, music, & films are all top-notch. This book on Hitchcock is just amazing! After reading Sullivan's chapter on each film, I'm watching (or re-watching) those films that I can find, and seeing them with new insight. This is one of the best books on film & music that I have ever read. Highly recommended.