The Rift That Ended Hitchcock and Herrmann’s Creative Alliance
Alfred Hitchcock’s trusted composer Bernard Herrmann defied his wishes on Torn Curtain, shattering a celebrated partnership and leaving the director feeling deeply let down.
In the world of cinema, even the most fruitful collaborations can unravel, sometimes in rather painful fashion. Alfred Hitchcock and Bernard Herrmann, once a formidable creative duo, saw their partnership collapse after a single, irreparable disagreement. Their working relationship, which began in 1955 with Herrmann’s score for The Trouble With Harry, had produced some of the most memorable moments in film history. Herrmann’s music for the infamous shower scene in Psycho remains iconic, yet it was this very success that would later contribute to their falling out.
The Seeds of Discord
Herrmann and Hitchcock’s professional bond was built on mutual respect and a shared artistic vision. Over the years, Herrmann composed the music for seven of Hitchcock’s films, each time bringing a distinctive sound that complemented the director’s vision. However, when it came to Torn Curtain, their creative paths diverged. Hitchcock, influenced by external advice, requested a lighter musical approach for the film. Herrmann, convinced he knew what would serve the story best, chose to ignore this guidance.
As Steven C Smith, author of Hitchcock & Herrmann, explained,
The reason Benny felt that he could go against Hitchcock’s wishes on Torn Curtain, I’m confident, is because Hitchcock said on Psycho, ‘Do whatever you think is best. I only have one instruction. Do not write music for the murders.’
Herrmann had previously disregarded Hitchcock’s instruction on Psycho, composing the now-legendary music for the murder scene. On that occasion, his instincts were vindicated, and Hitchcock embraced the result. This time, however, things would not go so smoothly.
The Breaking Point
Herrmann’s decision to deliver a weighty, dramatic score for Torn Curtain left Hitchcock stunned. The director, expecting his wishes to be respected, felt a profound sense of betrayal. Smith described Hitchcock’s reaction:
I have a much clearer understanding now of how, when Hitchcock walked into the Torn Curtain scoring session, he was just stunned, and his thought was an understandable ‘Why have you betrayed me like this? Everything’s gone wrong, and I counted on you, my friend, and you did this to me too.’
The trust that had defined their partnership was shattered. Herrmann, for all his talent and good intentions, was not the director, and his refusal to follow instructions proved costly.
Smith further noted,
Benny had the chance to turn it down, and they could have gotten Henry Mancini or John Addison,
suggesting that Herrmann’s personal struggles at the time may have clouded his judgement. The composer was, by all accounts, at a low ebb, unable to approach the project with his usual clarity.
Aftermath and Legacy
Ultimately, Herrmann was dismissed from the production, and John Addison was brought in to complete the score. The partnership that had yielded so many cinematic treasures was over, and Hitchcock and Herrmann would never collaborate again. Their story serves as a reminder that even the most successful creative alliances can be undone by a single moment of discord.