Yeah - all scores are influenced. Either by Herrmann or Holst or Elgar or VW or Copland or rock bands. That is a bad thing generally. Why? Because filmscore music by it's nature is always influenced due to external pressures such as temp tracks and whims. Goldsmith borrowed from Elmer Bernstein and visa versa and you can hear it sometimes. Wagner is also a good one to borrow from.
You can't take a piss on a music forum without someone trying to sound like John Williams. But what's even more ridiculous than that is they try and sound like John Williams did 35 YEARS AGO!
Not many of them try and sound like Herrmann. Why? Because they can't. It's too minimalist and way too difficult to get that kind of composition to stick in your head with the extremes in orchestration.. Herrmann was minimalist. He would take a line and repeat it over and over again to great effect. For example - Cape Fear. People will argue but you listen to attempts in film of a Herrmann style. It never sounds convincing. And actually, neither does a Williams copy either. The issue is about originality. Listen to Alan Silvestri try Herrmann in What Lies Beneath. A fun film that tries, again, to do Hitchcock.
And yet when Silvestri did his own thing in Predator, it sounded extremely good and worked brilliantly with a film of that style. Very percussive which suits someone like Silvestri. Plus a lot of these writers work with orchestrators. Herrmann didn't. How can you get original orchestrations like Herrmann when someone else is doing the orchestrations. The whole thing, to be an original sound should probably be orchestrated by the original writer. No one is interested in crap like time constraints ect. That's all bollocks and excuses.
The difference probably today is Herrmann, Williams, Bernstein, Goldsmith etc were influenced mainly by classical composers and jazz writers. Today, filmscore writers are influenced by filmscore writers. That's bad news if you're into original. Hans Zimmer for example has very successfully used his rock and pop background to wow uneducated children into believing that the films they watch actually have any artistic value.
Back to the topic though and I would say that the only interesting thing about Torn Curtain and the issues surrounding it, was that it marked the demise of Hitchcock and a spell in the doldrums for Herrmann, who was subsequently rediscovered by a new wave of directors at the time.