Bernard Herrmann II

[William]

I posted this strictly for Bernard Herrmann so that it can stay completely with this subject.

One thing I was thinking about recently was his use of the unresolved augmented and bitonal chords in "Vertigo." This was the first time anyone ever thought of regularly using a tonality which is ambiguous to suggest an ambiguous state of mind in a character. (Though it must be noted that Roy Webb, in the great Val Lewton horror features of the forties, used a lot of bitonality to hint at the psychic unease that was basic to those films). In the film at the beginning, the main character of Stewart is left hanging from the rooftop, and it is at this point that Herrmann uses the first of the so-called "vertigo chords" - an unresolved bitonal chord with doubly augmented intervals. The lack of resolution is further intensified by the shfiting between instrumental groups holding the same chords, almost doggedly.

This is related to the main theme's augmented arpeggios in harp, vibes and strings, which suggest the psychological conflict in the film's plot by their startingly unresolved repetition. This was not normal at the time in film music, by any means! In fact, it is a pointed repetition that Herrmann uses, deliberately forcing the audience to hear the lack of a calming effect of resolution normally heard.

It is extremely ironic how in the great "Theme d'amour" section, he uses an emphatic resolution of all the restlessly modulating and augmented chords at the end. And this is directly before the "discovery" of the plot of illusion and deceit that the main character has been subjected to. It is at the very point when the character believes a resolution has been achieved that everything is pulled out from under him. In other words, Herrmann has built into the very harmonic structure of the music itself the basic elements of the film's plotline and characterization.

[mathis]

Very interesting reading, Bill! Thanks for posting these thoughts.

[William]

Another fascinating Herrmann score, less known (though I think I mentioned it elsewhere - sorry): "On Dangerous Ground."

In this one he created the tremendous "Death Hunt" cue featuring the horn section playing continual triplets savagely punctuated by anvil, and the quiet, delicate theme describing the romance with Ida Lupino, featuring the only appearance of viola d'amor in the history of Hollywood up to that time.

It is interesting in this film how the director Nicholas Ray avoided music - even with Herrmann - in the first section which is set in the city, where Robert Ryan is intensely disturbed and burned out by his duties as a cop. Ray was trying to create a more inhuman quality to those scenes, and they were made even more disturbing by the lack of music - doing which was unheard of at that time. But a contrast was also created with the later sections of the film, which have the full-blooded score by Herrmann.

[PaulR]

That's the one where Ida Lupino plays a blind woman I think. The Hermmann score is quite violent at times. There were some other great films around that era. One of the best ever to come out of America, which flopped very badly at the box-office was Ace in the Hole, with another good and moody score by Hugo Friedhofer (I think that's right). I think Ida Lupino was in that too. On Dangerous Ground is certainly a good score to listen to for brass orchestration, of which, along with Miklos Rosza, Herrmann was one of the very best.

[William]

Yes, Miklos Rosza wrote some of the most powerful brass scoring ever in Ben Hur with its numerous brass and percussion marches like "Parade of the Charioteers" for various sized ensembles, which he was inspired to do in response to the roman bucina and other ancient brass sounds.

They were not historical reconstructions, but rather simply an opportunity to do some scoring in a style that had never really been done in films. Also in El Cid and maybe the best, the "Triumphal March" from Quo Vadis.

[PaulR]

Absolutely. Got a great Peter Ustinov story from Quo Vadis.

[William]

Is that the one where the producer asked in pre-production: "The story's great, but who will we get to play Quo?"

[PaulR]

@William said:

Is that the one where the producer asked in pre-production: "The story's great, but who will we get to play Quo?"

Actually no. The one where Ustinov, at the start of shooting, decides to ask the director how he 'sees' Nero and how he wants him to play the part.

[William]

As a fine, upstanding character I imagine. Isn't that how everyone "sees" Nero?

Hey! We need one of today's hot producers - like Jerry Bruckheimer - to "reimagine" Nero. For today's audiences.

And who would play him? - you guessed it:

Mel.

No, Paul, not Brooks - Gibson.

Though he would have to suffer some egregious tortures - that goes without saying. But this would demonstrate the essential, underlying humanity of Nero. If anyone can do it, Mel can.

[PaulR]

@William said:

As a fine, upstanding character I imagine. Isn't that how everyone "sees" Nero?

Weeell, apparently not Mervyn Leroy, director of Quo Vadis. Here's the picture.

Ustinov is nervous, and in full costume is watching Leroy from across a sound stage. He finally approaches the American director, who is puffing on a huge cigar.

He says ' Mr Leroy, how do you see Nero and the way I might play him. I have some ideas of my own, of course'.

Leroy pauses and takes several puffs of his fat cigar, and slowly, in an American New York type of accent says..

'Neeeerow? Neeeerow? Son of a bitch!(puff) Son of a bitch! Thats the way I see Neeeerow!(puff) Do you know what he did to his mother? (as if one could go back in time and rectify the situation). Leroy continues ' Neeeerow? (puff, puff) He's the kinda guy plays with himself nights! Thats the way I see Neeeerow! (puff)!

Ustinov agreed (and copped an Oscar for his trouble). That was the only instruction he got from the director on how to play Nero. Not a very good film in my view, BUT, one of Miklos Rosza's best scores I would think.

[:D]

[William]

It is difficult to say which of Rosza's scores is the best, given how many brilliant ones he did. He did write though - for brass and percussion - in a manner that blows every other composer since off the map. Nobody has ever composed anything more powerful in a macho brass/percussion style than "Parade of the Charioteers" or "Ave Caesar."

[William]

Not to mention any of his other works of genius - like "Lost Weekend" or "The Power" or perhaps the best "Thief of Baghdad." He is truly one of the greatest ever.

[PaulR]

@William said:

Not to mention any of his other works of genius - like "Lost Weekend" or "The Power" or perhaps the best "Thief of Baghdad." He is truly one of the greatest ever.

...And The Private Life of Sherlock Holmes with Robert Stevens and Colin Blakely.