The Dance of Suspense: Sound and Silence in North by Northwest

Abstract

ALFRED HITCHCOCK HAS BEEN FREQUENTLY commended by critics forthe purposeful, intuitive, effective use of music in his films. Recently, significant attention has been given to his use of musicas an integral component of film's narrative structure. This renewed focus is due, in large part, to popular critical success of Jack Sullivan's Music (2006), a book focusing solely on this aspect of director's considerable artistry. Further illumination explication of contributions made by composer Bernard Herrmann to one of most critically acclaimed films, North by Northwest, will encourage additional consideration of subtle intricate role of music in film. In an interview with Steven Watts early in his career, Hitchcock expressed his intrigue with possibilities of using music in ways that were more subtle persuasive than few uses traditionally assigned to music- for example, numbers in film musicals orthe slow, sappy music used for love scenes (242). He recognized psychological potential of music to reveal a character's true feelings when words were not enough, to establish a mood or ambiance for a scene, to anticipate events, to increase excitement. This appreciation for emphasis on film music was, ironically, an outgrowth of his experiences with silent filmmaking. He explained to Watts, One of greatest emotional factors in silent cinema was musical accompaniment (242). His appreciation forthe power of music compelled Hitchcock to employ well-known, serious composers to create scores for his pictures, especially his arrival in America in 1940. Unlike most film directors, Hitchcock was known to work closely with his composers, often providing them with detailed, sometimes witty music notes before scoring even began (Sullivan xvi). The director also made a practice of consulting with his composers during filming made specific suggestions, providing close direction, during actual scoring process. Hitchcock sometimes insisted on certain sounds or types of music for his scores, but he was willing to entertain suggestions from his composers- in case of Psycho (i960), famously acceding to Bernard Herrmann's insistence on scoring showermurder scene, which director had originally intended to be silent. Hitchcock was interested in incorporating upto-date popular music, when appropriate. He eschewed stuffy, culturally snobbish attitude held by some filmmakers studios that all film music must be composed for performed by an orchestra. Also unlike his contemporaries, he expressed his belief in power of silence indicated that presence of music could be used to maximize power of silence. Silence is often very effective, he told Watts in 1933, and its effect is heightened by proper handling of music before after (242). These concepts- primary importance of incorporating scores by contemporary art-music composers as well as judicious use of popular music silence- inform music of North by Northwest (1959), one of greatest comedy-thrillers. North by Northwest was fourth final project with Cary Grant, it emerged as Hitchcock's grand summation of every 'wrong man' thriller (Smith 226). The film was nominated for five Academy Awards but did not win in any of its categories. The score was composed by Bernard Herrmann, who collaborated with Hitchcock on a total of eight films; North by Northwest was fifth Hitchcock-Herrmann project. According to Jack Sullivan, the composer director were both at top of their game at outset of this endeavor (235). The score wasn't Herrmann's only contribution to this particular film, however. During one of their previous collaborations, Herrmann had introduced Hitchcock to his friend Ernest Lehman, a screenwriter whose previous successes included Sabrina (Billy Wilder, 1954) The King I (Walter Lang, 1956). …