How Hitchcock and Herrmann’s Creative Bond Fell Apart
Alfred Hitchcock and Bernard Herrmann’s legendary partnership unravelled after a clash over the score for Torn Curtain. Discover how creative differences led to a dramatic split between two film icons.
Some of the most celebrated creative duos in film history have ended up parting ways, sometimes in ways that leave a sour taste. For Alfred Hitchcock, his long-standing collaboration with composer Bernard Herrmann came to a sudden halt, leaving the director feeling let down. Their working relationship, once built on mutual respect and understanding, eventually hit a wall when it became clear they were no longer on the same page.
Early Days and a Flourishing Partnership
Their journey began back in 1955, when Herrmann composed the score for Hitchcock’s film The Trouble With Harry. From there, the two formed a strong creative bond, with Herrmann going on to score seven of Hitchcock’s films. His most famous contribution was the unforgettable music for the shower scene in Psycho, a moment that’s become iconic in cinema. Ironically, it was this very success that set the stage for the trouble that would come later.
Herrmann’s approach to music had worked wonders for Hitchcock in the past. The director had once told him to avoid writing music for the murder scenes in Psycho, but Herrmann ignored the instruction and delivered a score that became legendary. Hitchcock was so impressed he decided to use it anyway. This triumph may have given Herrmann the confidence to trust his own instincts over the director’s wishes in future projects.
Creative Differences on Torn Curtain
When it came time to work on Torn Curtain, things took a turn. Hitchcock was after a lighter touch for the soundtrack, but Herrmann went in the opposite direction, convinced he knew what would work best. He believed Hitchcock was being influenced by others and stuck to his guns, delivering a heavy, dramatic score.
“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’s earlier gamble had paid off, but this time, it backfired. Hitchcock walked into the scoring session and was floored by what he heard. The sense of betrayal was immediate and deep.
The Fallout and Final Curtain
“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.’ Benny didn’t do what he was told, and he wasn’t the director of the film. And this could have been avoided,”
the story goes. Herrmann had the option to step away, but he pressed on, even though he was going through a rough patch personally. It clouded his judgement and made it hard for him to see the project with fresh eyes.
In the end, Herrmann was removed from the production, and John Addison was brought in to finish the score. The partnership between Hitchcock and Herrmann, once so fruitful, was over for good. They never worked together again.