Tang shan da xiong 1971 It was

Tang shan da xiong 1971

It was total hysteria in that theater when this famous shower scene took place. Everyone who saw it then believed that Marion Crane was getting sliced up in that shower. And wasnt she Janet Leigh one of the films stars? I actually heard one of the women say to her freind sitting behind me, How could it be that a star gets killed like that? Well it did happen and Hitchcock deserves much credit for keeping it a secret until the film was released. Unfortunately, this scene has become so familiar that the thrill of surprise is no longer there but the music has remained just as effective in scaring the daylights out of many people. One of the most innovative and imitated scores was composed by Bernard Herrmann for Hitchcocks classic thriller, PSYCHO. The use of strings for what Fred Steiner called Herrmanns black and white music. It was unheard of at that time. Incredibly, Herrmanns score was not nominated for an Oscar. And which score did win the Oscar for Best Film Score? It was EXODUS, a good score, but hardly as trend-setting as Herrmanns memorable PSYCHO score, which is much more than just those shrieking strings in the murder scenes. The rest of the score using only strings is just as effective in setting the moods and raising the suspense levels of various scenes and the score fully deserved to win an Oscar, or at least be nominated. On this 50th anniversary of the film and score, what should be remembered is that when it was first shown in theaters, the audiences experienced a tremendous thrill of surprise and shock. A great deal of credit Hitchcock said it at least a third of the success was due to Bernard Herrmanns thriller had a well written screenplay by Joseph Stefano Writers Guild Award, based on Robert Blochs 1959 novel of the same name which is more graphically gruesome and based on a real person, Ed Gein from Wisconsin, who murdered several women and tang shan da xiong 1971 to dress like his dead mother. The film has excellent acting by all, but especially from Janet Leigh, Vera Miles Marions sister Lila Crane, Anthony Perkins his best ever film role and Martin Balsam playing the investigator, Milton Arbogast. But probably the best remembered things about this film are the three knife scenes planned so effectively by Alfred Hitchcock and the chilling film score by Bernard Herrmann with those shrieking strings. For me, watching this film the first time was like taking a wild roller coaster ride at an amusement park and going up those steep inclines and then down quickly with the wind blowing in your face like someone suddenly punched you. PSYCHO was full of shock em and sock em moments from two masters of movie suspense: Hitchcock and Herrmann. Love it or hate it, this is still the best movie tang shan da xiong 1971 ever made. Because of the enormous appeal of this Hitchcock classic suspense thriller, there are many CDs with tang shan da xiong 1971 from this film, either the complete soundtrack or a suite PSYCHO: A Narrative For Orchestra. Compilation Produced by Didier C. Deutsch and Dana G. Smart. Orchestras conducted by John Addison, Paul Bateman, Elmer Bernstein, Bernard Herrmann, Dimitri Tiomkin, Franz Waxman, Muir Mathieson, John Williams. Theme from Alfred Hitchcock Presents TV series The Wild Ride from NORTH BY NORTHWEST Bernard Herrmann PSYCHO A Narrative for Orchestra Bernard Herrmann Prelude from TORN CURTAIN Bernard Herrmann The Radiogram from TORN CURTAIN Bernard Herrmann A Portrait of Hitch from THE TROUBLE WITH HARRY Bernard Herrmann How appropriate that this CD compilation is now available for the centennial of Alfred Hitchcocks birth August 13, 1 The 100th anniversary of his birth was on Friday the 13th how appropriate!! This is a marvelous collection of great themes, 8 of theme previously unreleased, from some of the greatest film composers of the past 50 years. Included are both the familiar themes VERTIGO and PSYCHO and less available themes I CONFESS and REAR WINDOW. After the opening TV theme for Alfred Hitchcock Presents, there are two themes by Dimitri Tiomkin. Both are highly dramatic and heavily sentimental but not particularly memorable. The next theme by Franz Waxman from REAR WINDOW track 4 is much more welcome, a swinging jazz combo theme. After some familiar tracks conducted by Bernard Herrmann tracks 5-7, there are several cues from his score to MARNIE which havent been released before. The Prelude track 8 has a theme which was adapted into a pop song recorded Nat King Cole. Its another of Herrmanns gloriously rhythmic themes, full of subtle changes of tempo and dynamics. The same can be said for the three tracks from TORN CURTAIN, all conducted by Herrmann himself. Just listen to John Addisons catchy pop-lite Main Title from this film track 10 and then hear Herrmanns unused Prelude track Herrmanns theme is far more impressive with the forceful brass 16 horns and woodwinds 12 flutes! firmly stating the theme. According to Steven Smiths notes, Hitchcock asked Herrmann to write a score for young audiences who were vigorous and demanding. Then there is the wonderful Main Title theme track 16 from a vastly underrated Hitchcock film, THE WRONG MAN. This track is expertly conducted by one of Herrmanns fellow composers and friends, Elmer Bernstein. Besides Tiomkin, Waxman, Addison and Herrmann, there are three other composers featured: Maurice Jarre in a sprightly March from TOPAZ track 14; Ron Goodwin an imposing London Theme from FRENZY track 15; and John Williams, who wrote the score for Hitchcocks last film, FAMILY PLOT. The End Credits Titles music track 17 is delightfully whimsical with its prominent use of harpsichord and strings, and is ideal for this clever comedy caper directed by the master of mystery, Alfred Hitchcock.