27 Songs, 38 Minutes


Ratings and Reviews

4.4 out of 5
18 Ratings

18 Ratings

Hoops5117 ,

Hitch for Hitch

I love the mix of Danny Elfman and the great Bernard Herman. It is fitting for this wonderful film as it takes twists and turns. This soundtrack would make Mr. Herman very proud I believe!

chinchillaboy26 ,

Must-have for Elfman collectors

Danny Elfman fans were treated to three enjoyable scores in 2012, with the composer’s work for Dark Shadows, Men in Black 3, and Frankenweenie serving as adequate work to satisfy fans looking for some of that signature Elfman charm. However, in November 2012, the limited release film Hitchcock (detailing the famed director’s life during the making of Psycho) also featured an Elfman score, a pleasant surprise. And it only makes sense that Elfman would work on this film, as Bernard Herrmann--who worked on many of Hitchcock’s films, including Psycho--is one of Elfman’s biggest inspirations and the source of most of Elfman’s well-known work on Tim Burton’s Batman.

The film is an entertaining if lighthearted look into the director’s relationship with his wife and collaborator Alma Reville, humorous in the same dry way as Hitchcock himself and loaded with great performances by the likes of Anthony Hopkins, Helen Mirren, and Scarlett Johansson. That the film does not take a documentary-like approach, instead opting for what feels like a lighthearted drama, is all the better for Elfman, who thrives on conveying character and emotion in music. He takes a mostly subdued approach to Hitchcock, rarely using brass and instead focusing on strings, woodwind, and piano.

There are two primary themes in Hitchcock, the most prominent being for the director’s relationship with Reville. It is a restrained, somewhat romantic motif that attempts little to establish melody, instead concentrating on repeated three-note ideas. It is heard in spasms throughout, but it sounds most fitting when the whiny strings take over in “Theme From ‘Hitchcock’” and “End Credit#2.” The romance in this film doesn’t concern a young couple in love; Hitchcock and Alma are aging and their relationship is at times quite strained, which is represented quite well by the tender and hesitant theme. As the film focuses at its heart on Hitch and Alma, it is fitting that this should be the main theme. The secondary theme is a sweeping waltz to represent the director himself, elegant in cues like “Walk With Hitch” and “Paramount / Out the Gate” while also a bit perverse, especially when the solo violin meanders in “End Credit#1.”

These two themes are the only ones that show any sort of development throughout the brief (just over 38 minutes long) score, with the rest of the soundtrack using an entertaining and thoroughly enjoyable style reminiscent of Elfman’s earliest works. The spirit in cues like “The Premiere” and “Selling Psycho” is infectious, and the composer’s love for the subject material is evident in his brief orchestral arrangement of “Funeral March For a Marionette” (Hitchcock’s personal theme song). Overall, it’s merely a snack for Elfman fans, sadly bite-sized but undeniably delicious. Indeed, this score has moments that rival anything in his other 2012 scores. Be that as it may, the work’s brevity and lack of proper thematic development really holds it back from excellence.

Overall score: 7.5/10

Kidd1222 ,


itune mommy dearest

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