Even though it’s now widely considered one of the greatest movies ever made, Alfred Hitchcock’s psychological thrillerVertigodidn’t win a single Academy Award. That is, until 54 years after its release, when another film won Best Original Score despite lifting a piece of music directly fromVertigo. This strange event served as belated validation for one of Bernard Hermann’s most ingenious musical compositions.
Hermann’s composition“Scene d’Amour” helps makeVertigo’s famous bedroom scene, in which the movie’s protagonist Scottie falls for Kim Novak’s character Judy, one of Hitchcock’s finest cinematic moments. The music’s string-heavy ascending melody underlines the state of romantic hypnosis in which James Stewart’s Scottie finds himself, perfectly complementing the ghostly lighting effects Hitchcock applies to the scene. Hermann’s piece also hints at the tragedy inVertigo’s ending, as it enacts the sound of Scottie’s desperate obsession with Judy, which eventually leads to disaster.
Best Original Score At The 2012 Oscars Included A Piece From Vertigo
The Artist Used Music From Hitchcock’s Movie To Score Its Climactic Scene
In 2011, Michel Hazanavicius decided that “Scene d’Amour” could enact a similar sentiment in his Oscar-winning filmThe Artist.The Artistwas his love letter to cinema, and he annotated his post-production notes for the movie’s soundtrack with musical placeholders lifted from some of the most celebratedmovies of Hollywood’s Golden Age. These placeholders were originally intended as recommendations for the film’s composer Ludovic Bource to use as inspiration while writing an original score for each scene ofThe Artist,but one particular song was determined to be good for just a placeholder.
Subsequently, the director hadThe Artist’s producer Thomas Langmann purchase the rights forVertigo’s “Scene d’Amour,”, so that it could serve as part of his movie’s final soundtrack. Hermann’s composition soundtracks a scene in whichThe Artist’s protagonist George Valentin is considering suicide while his love interest Peppy Miller races to his house to try and save him. It’s the movie’s climactic moment, demonstrating just how importantVertigo’s score is to theOscar that Bource won in 2012for Best Original Score. Ultimately, this Oscar belongs toThe Artist, but it’s effectively a victory forVertigotoo.
“Scene D’Amour” Fitting Perfectly Into The Artist Shows The Timeless Brilliance of Bernard Hermann’s Music
His Compositions Remain As Relevant To Cinema Today As When He Wrote Them
AlthoughThe Artistis a black-and-white, mostly-silentmovie purposely made to look old-fashioned, it was still produced in 2011, utilizing the latest filmmaking technology available at the time. It’s fundamentally a modern approach to a classic Hollywood story, with formal references to movies gone by and a narrative about Hollywood’s silent era, but framed by a present-day understanding of cinema. Hermann’s composition“Scene d’Amour” ought to stand out as an anachronism in the movie, since it was composed for a film released 53 years beforeThe Artist, and three decades after the silent era had ended.
The 5 Best (& 5 Worst) Black & White Movies Of The 2010s, Ranked According To IMDb
Shooting in black and white is a technique still used in the occasional movie to achieve a certain tone of gravitas, but it’s not always successful.
Yet the piece fits perfectly intoThe Artist, serving the movie better than its own score’s composer apparently could. “Scene d’Amour” imbues two drastically different scenes from completely different cinematic eras with the same emotional force and dramatic tension. This example demonstrates the timeless brilliance ofBernard Hermann, whose best scoreselevated such classic movies asCitizen Kane,Psycho, andTaxi Driverto the level of all-time greatness, alongsideVertigo. Hermann himself only won one Oscar, for scoring the filmThe Devil and Daniel Websterin 1941. But his monumental legacy in film far exceeds this small golden statuette.
