Hitchcock and Herrmann: The Friendship and Film Scores that Changed Cinema

by Steven C. Smith

This is the story of the game-changing collaboration between director Alfred Hitchcock and composer Bernard Herrmann, who channelled their inner fears and desires into films that would become the nightmarish narratives and soundtracks of our lives.

The 11-year collaboration between Alfred Hitchcock and Bernard Herrmann is often called the greatest director-composer partnership in cinema history. Their eight films together include such classic thrillers as Vertigo, The Man Who Knew Too Much, North by Northwest, Psycho, and The Birds. In Hitchcock and The Friendship and Film Scores that Changed Cinema, Steven C. Smith delivers an intimate account of how the reserved, but deeply anxious, Hitchcock found his ideal creative partner in the cantankerous, but deeply romantic, Herrmann. Smith draws on four decades of research, including previously unpublished documents and new interviews, to deliver a riveting account of what made the teaming of "Benny and Hitch" so memorable and influential -- and why it came to a bitter end.

Their story involves the tumultuous changes in Hollywood from the mid-1950s to mid-1960s, as the collapsing studio system gave way to independent, counterculture filmmaking. It also involves the key figures in Hitchcock and Herrmann's inner circle including the director's gifted wife and most valued critic, Alma Reville; Herrmann's beautiful, put-upon spouse, Lucy Anderson; and talent agent-turned-studio mogul Lew Wasserman. Wasserman's negotiations made Hitchcock's greatest filmmaking period possible, but over time Lew's commercial instincts as head of Universal Studios clashed with Herrmann's pure artistic vision.

Hitchcock and Herrmann is both a deeply researched historical study and a fast-moving, cinematic narrative -- one that puts readers on the film sets and scoring stages of Hitchcock masterworks. Their collaboration ended in a bitter break; but today Herrmann's pulse-quickening music has become the soundtrack of our own anxious times. The music from their movies is more popular than ever, heard in Quentin Tarantino blockbusters and Lady Gaga music videos. In Smith's expert telling, readers get an an intimate look at two legendary creators who, despite seemingly opposite personalities, found in each other artistic completion.

Genres: Music, Biography, Media Tie In, Nonfiction, History, Film, Collections

312 pages, Hardcover

Published October 1, 2025

About the author

Indie Author, hailing from the not so sunny United Kingdom.

I have always considered myself a creative zany person, expressing my idea's through writing and art. This led me on a journey to release my first ever self-published book late September 2016. The Dragon's Reclaim series is set to be an 8-part Fantasy saga, and as I edge closer to the series end, I know that new chapters will open out for me to create a diverse range of e-books and paperbacks in the years to come.

I find myself fascinated by dragons and all thing's fantasy fiction, so, was only a matter of time before I wrote my own idea's down.

As time passed by my ideas were combined, thus creating a whole world for my character's to live in, and soon I had an entire saga spinning round in my head.

I continue to tell my fairy tale adventure, and each and every day I become more and more inspired as the adventure grows.

More recently I have delved into publishing a Crime Novel, and a double-header Fantasy set of books, which are ten times more brutal and hard-hitting than any of my previous works. (18+)

Future works will include sequels to the above, and of course the conclusion of Dragon's Reclaim. Not to mention some other fantasy genre's including Vampires, Werewolves & Zombies. Stay tuned.

Reviews

[Leo · Rating 4 out of 5]

Got the audiobook arc for review.

I really enjoyed the narrator of this audiobook as well as the story itself. I was both interested it the book because of Hitchcock but also because its centers trough a friendship. As well as learning about the movies and the music it was somewhat moving learning deeply about the people involved. Glad that my first arc was a success.

[Michael · Rating 4 out of 5]

All about the collaboration between Alfred Hitchcock & Bernard Herrmann. I’ve not thought too much in the past about the marriage of film and music and how they affect and enhance each other. This book helps you to appreciate that. A well done and interesting book.

The only thing I had a hard time with was within each chapter the author would take the ‘Film Score’ and break each piece down into notes and what instruments are being used, and what it means and drag it out page after page. It made absolutely no sense to me, but that’s probably the beauty of it.

Thanks to Oxford University Press for the free copy to read and review.

[Michael Schramm · Rating 5 out of 5]

Some thirty years ago I read and relished Steven C. Smith’s biography on radio/theater/film composer Bernard Herrmann. What a delightful surprise it was to witness the author having written still another book on Herrmann, this time focusing on possibly the most famous film director/composer relationship in Hollywood history.

Smith dissects each of the nine films Hitchcock and Herrmann collaborated on, and thankfully two of the most famous films they crafted (“Vertigo” and “Psycho”) are accorded two chapters each. This is a fascinating story of two incredible Hollywood professionals who over the period from 1955-1965 thought in unison, developing a deep understanding of the needs of the other, only for it all to end in bitter acrimony as film music styles began to change from classical romanticism to “lighter” music in a jazz/pop vein—something that Herrmann eschewed owing to its “commercial” construct. At the height of their relationship, however the pair demonstrated a unity of thought in several now classic films that showcased their elemental passions of love lost, death, anxiety and pathos.

[Jo Lee · Rating 3 out of 5]

2.5 ⭐️ rounded up.

I dawdled a bit in leaving this review partly because the other ratings are so high, but also because it’s so clear that the author has really poured himself into the pages. I assumed I just wasn’t getting it so I kept going back and trying again. In theory it should’ve been a complete win because I’m a big Hitchcock fan I’m a big fan of his era and impressed by the music. The book itself just wasn’t a fit for me, there’s too much padding and I was frequently bored. The research has clearly been meticulous but it felt like exactly that, a catalogue of facts. There was very little feeling considering it’s something of a passion project. I’m left considering if biographical work is really not my thing at all, or that perhaps they just don’t always work for an audiobook.

I was disappointed, you may not be, so give it a go.

Many thanks to HighBridge Audio and NetGalley for the opportunity to review this audiobook 🎧

[Mandy Lehti · Rating 5 out of 5]

Dear Mr. Smith,
Your book Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema is a captivating and beautifully detailed account of one of the most fascinating collaborations in film history. You’ve managed to turn exhaustive research into a narrative that reads with the energy and tension of a great Hitchcock film itself.
What I found especially striking was the emotional depth you bring to both men the way you reveal Hitchcock’s meticulous control and Herrmann’s fierce artistic spirit as two sides of the same creative coin. Through your storytelling, readers gain a deeper appreciation of how their partnership not only transformed cinematic sound but also redefined the relationship between image and emotion.
Hitchcock and Herrmann has strong potential to reach audiences beyond film historians and scholars. Its mix of artistry, psychology, and human drama could engage readers passionate about music, creativity, and the behind the scenes forces that shape cultural history.
I would love to discuss ways to help position Hitchcock and Herrmann for broader recognition among film enthusiasts, musicians, and readers drawn to the intersection of art and storytelling.
Would you be open to a brief conversation about expanding the book’s reach and connecting it with new audiences who would appreciate its rich insight and timeless relevance?
Best regards,
Mandy L.
BOOK MARKETING CONSULTANT

[Beatriz · Rating 5 out of 5]

Book 5 of 2026 - ☑️! Thank you to NetGalley, HighBridge | Highbridge Audio and Steven C. Smith for an ALC of Hitchcock and Herrmann
The Friendship and Film Scores that Changed Cinema by Steven C. Smith and narrated by Steven C. Smith in exchange for my honest review.

I’m on a kick with some solid non-fiction books in 2026! As someone who works in film & TV, I saw this book come up on NetGalley, and after a quick search, I was shocked to see that the book was actually released last year, but hadn’t shown up in my algorithm. Suffice it to say, I requested this one and got approved within a few short days. In an effort to mix things up, I decided to jump into Hitchcock and Herrmann, and it did not disappoint.

Spanning decades of friendship, a working relationship and an eventual unfortunate falling out between Hitchcock and Herrmann, author Steven C. Smith is wonderfully engaging with both his written words and narration. There are some books, regardless of genre, that can feel quite dry - no matter the genre. Smith completely evades that, and I knew this would be enjoyable the entire way through just a short while after I started reading it. If you love not just Hitchcock, but horror movies or are any sort of a cinephile and have some interest in music and how scores and soundtracks can truly enhance your viewing experience, I think you’ll enjoy this book. (Lovers of Psycho & The Birds will feel particularly fulfilled in my opinion.)

I’ve worked on various projects on the Universal lot, which is mentioned constantly in the book, so that made reading this book all the more enjoyable, because I know a lot of the places and names that were mentioned in regards to Universal the lot and company.

5/5 ⭐️’s - I’m excited to read more of Smith’s work! 🔪🚿🎶 #NetGalley #HitchcockandHerrmann

[Bargain Sleuth Book Reviews · Rating 5 out of 5]

Thanks to NetGalley and HighBridge Audio for the digital copy of this book; I am leaving this review voluntarily.

I’m always up for a book about Alfred Hitchcock’s films. The Master of Suspense held my attention quite a bit because I like a good atmospheric mystery. As I’ve gotten older, I realize that Hitch was kind of pervy, but I still enjoy his films. It’s one of the rare instances where I can separate the art from the artist. And many of my favorite films were scored by Bernard Herrmann. Naturally, I wanted to know more about their 11-year collaboration.

I’m always game for a well-researched and personality driven histories, which this account of Hitchcock and Herrmann delivers in spades. The man behind the music of some of Hitchcock’s greatest films deserves its own analysis, and author Steven C. Smith delivers. I did not know much about Bernard Herrmann other than his art; this book reveals much about the man’s personality and personal life, too. Apparently, Smith wrote a book about the pair of artists more than 30 years ago and took the opportunity to dive into the treasure trove of archival records and papers that have become available during that time.

Hitchcock was no saint, but neither was Herrmann. The man had serious anger issues, but he was a brilliant artist, too. The collaboration between the two created some of the most famous scores in film history, right up there with John Williams. There was a terrible breakdown to this famous duo, which I knew nothing about. The breaking point was during the production of Torn Curtain, which is one of the films I adore (critics do not agree with me, however.) Hitch gave some vague instructions to Herrmann about what he wanted, but Bernard pretty much did the exact opposite. Hitch hated it so much that he cut the man out of his life completely.

The author is also the narrator, which doesn’t always work, but in this case, Smith did a fine job. My only wish, and I realize that it couldn’t happen because of music licensing, was the have clips of the music that was talked about. Even without hearing the scores, it was still a compelling listen.

[Dave Taylor · Rating 5 out of 5]

You may not realize just how much soundtracks contribute to the success of movies, but Alfred Hitchcock knew all too well, which is why some of his most creative movies were scored by composer Bernard Herrmann. North by Northwest to Vertigo, The Trouble with Harry to Psycho. But Herrmann wasn't a composer who meekly sat behind the piano, composing pleasant melodies. he was a creative genius with towering emotions and an ego the size of Manhattan.

"Hitchcock and Herrmann: The Friendship and Film Scores that Changed Cinema" explores both genius creators, Hitchcock and Herrmann, documenting the rise and fall of their famous friendship and collaboration. At its best, the two operated in harmony and produced some of the most memorable scenes in cinema history (can anyone forget the shrieking violins from the shower scene in Psycho?). Both men were hobbled by their fears, anxieties, and phobias, however, culminating with the lackluster "Marnie" soundtrack and the flameout - and friendship ending - disaster of "Torn Curtain".

Smith has previously written a biography of Bernard Herrmann, with the cooperation of Herrmann's ex-wives and family members, and it's clear he knows Herrmann very well. It's the behind-the-scenes information that's the most intriguing, including a surprisingly number of quotes from composer John Williams.

Whether you're an aficionado of movie soundtracks or aren't sure how they contribute to a great cinema experience, this is a wonderful book to read. I encourage you to listen to each soundtrack as it's discussed, which greatly enhanced the reading experience. Highly recommended, and a must-read for cinephiles.

[Paul Spence · Rating 5 out of 5]

When one thinks of great director-composer collaborations throughout film history, several pairings come to mind: Steven Spielberg and John Williams, Sergio Leone and Ennio Morricone, Tim Burton and Danny Elfman, to name just a few. But one of the most exceptional of these, both for the explosively acrimonious way in which it came to an abrupt, bitter end as much as for the music and the films themselves, is Alfred Hitchcock and Bernard Herrmann. That this partnership should be so celebrated is even more remarkable considering that their association only stretched to nine films (including The Birds, which has no musical score but for which Herrmann was employed as “Sound Consultant”, and Torn Curtain, the score that Hitchcock rejected, thereby permanently ending their professional relationship).

With a biography of Bernard Herrmann already under his belt (plus a similar tome on another Hollywood great, Max Steiner), Steven C. Smith’s latest book explores these seminal works. Chapters tend to stick to the same structure, with an initial foray into the background of each film leading to a discussion of the score itself. Smith frequently interweaves quotations from a panoply of directors, conductors, and composers, as well as transcribed excerpts from Benny & Hitch, Andrew McCaldon’s 2022 BBC Radio 3 drama starring Tim McInnerny as Herrmann and Toby Jones as Hitchcock.

While there is much discussion of the music, it is never too technical or analytical. In fact, I got the sense that Smith had been asked to pitch the book at an informed cinematic readership rather than an audience of music academics - nothing wrong with that of course, although I did occasionally feel it erred on the side of overexplaining things, for example when we are told that fortissimo means “very loud”, that a cor anglais “sounds similar to an oboe” (this is noted more than once), or that intonation means “accurate pitch”. Nevertheless, as a book intended to appeal to those interested in both the musical and the cinematic sides, it provides much illuminating detail, and Smith’s love for Herrmann’s music is most enthusiastically conveyed, getting to the heart of what makes these scores so effective.

One of the most outstanding musical moments in any Hitchcock film must surely be the Royal Albert Hall sequence from The Man Who Knew Too Much (Hitchcock’s 1956 remake of his own 1934 film), where an attempted murder (the perpetrator seeking to mask the sound of the gunshot by coinciding with the climactic cymbal clash of Arthur Benjamin’s Storm Clouds cantata, conducted on-screen by Herrmann) is foiled by Doris Day screaming in the silence that precedes the crucial percussive interjection. Smith’s dissection of this scene was so gripping that I had to put the book down and watch the whole film immediately.

I mentioned that their collaboration only extended to nine films, but Smith makes sure not to ignore The Alfred Hitchcock Hour, a television series for which Herrmann provided several scores. Although Hitchcock did not direct any of those Herrmann-scored episodes, his role as producer means that they form a vital part of the history between the two men. Smith highlights Herrmann’s habitually outlandish orchestration: one episode is scored for eight bassoons, and another for nine trombones and six double basses (no doubt inspired by a line from the episode: “I read in a book about a man who killed only trombone players. He beat them to death with their own trombones”...). This imaginative orchestration carries through into his film scores: whether it be two theremins in The Day the Earth Stood Still to depict the alien arrival, nine harps to represent the undersea setting of Beneath the 12-Mile Reef, or twelve flutes in his rejected score for Torn Curtain, his esoteric choices were always a key part of how Herrmann so effectively elucidated the characters’ emotions.

As enlightening as many of these musical discussions are, the book is equally successful at placing the scores in the context not only of Herrmann’s overall output (especially non-film works such as his opera, Wuthering Heights) and his fractious encounters with orchestras as conductor, but also his relationship with Hitchcock both personally and professionally. Smith demonstrates the bond of trust and mutual respect that existed between the two, where the director would defer to Herrmann in musical decisions (for example, calling Herrmann before filming a scene to ask him if he expected to need music, as the answer would affect the way he shot it). Almost as crucial was their agreement about when music should NOT be used, notably the crop-duster sequence from North by Northwest, which is left unscored (as Herrmann himself put it, “Every good artist uses black at times”).

The most noteworthy instance, however, of when their thoughts did not align is the shower scene in Psycho, where Hitchcock had initially instructed Herrmann: “Please write nothing for the murder in the shower. That must be without music”. Herrmann ignored that directive, composing what is now one of the most famous cues in movie music. Fortunately, once Hitchcock heard what Herrmann had written, he admitted that he had been wrong in his initial assertion (Smith points out that this would contribute to laying the groundwork for their eventual split six years later, when Herrmann again felt free to ignore Hitchcock’s stipulations regarding the score of Torn Curtain to devastatingly negative consequences).


It is no secret that Herrmann had a somewhat irascible personality (as Hitchcock put it to fellow director François Truffaut, “he’s a very temperamental fellow, you know”), often borne out of frustration that the sound in his head wasn’t being matched by what he was hearing from his players, and Smith doesn’t shy away from communicating this side of Herrmann’s character (I can’t repeat it here, but he includes a colourful comment from an unnamed music editor on how the first day’s recording sessions on The Trouble with Harry had gone…).

Even as far back as Vertigo in 1958, studio executives had been clamouring for a hit song that could aid in the film’s marketing and indeed profits (to be fair, this had proved fruitful in the case of Doris Day singing Que Será, Será in The Man Who Knew Too Much, although that was not composed by Herrmann). Smith is particularly engaging whilst explaining the roadmap that led to their falling out, noting the frequent studio requests for a catchy pop song and the fact that Herrmann was the victim of his own success with Psycho: he would subsequently be pigeonholed with offers to score more macabre thrillers. Combined with a change in 1960 at the top of the Fox music department from Alfred Newman to his brother Lionel (who preferred more tuneful scores and would disparagingly refer to Herrmann as “Charley Ostinato”), the writing was on the wall that his period in the sun was coming to an end (it would take the enthusiastic nostalgia of next-generation directors such as Martin Scorsese and Brian De Palma for Herrmann’s star to ascend once more).

And then came Marnie. Hitchcock’s increasing health problems and his on-set bust-up with Tippi Hedren (with whom he had been obsessed since he cast her in The Birds), alongside Herrmann’s wife Lucy leaving him during the film’s recording sessions and an unfortunate television interview where Herrmann severely wounded Hitchcock’s pride by stating that the latter had made a poor suggestion with his initial insistence that Psycho’s shower scene should have no music, led to a serious deterioration in their relationship. With a generally caustic critical reaction to the film and an increasingly loud sentiment that both director and composer were old-fashioned and well past their prime, the studio was keen to point the finger of blame.

Set against the backdrop of changing musical tastes in the early 1960s (significantly the enormous sales for another film soundtrack released in 1964, The Beatles’s music for A Hard Day’s Night) plus Decca Records now being a part of the MCA studio, it was perhaps inevitable that Hitchcock faced enormous pressure to ditch his trusty collaborator (an especially ironic situation given that, as Smith observes, Decca had previously ignored Herrmann’s wildly enthusiastic recommendation to sign a sensational new band he had heard in 1961 whilst in a Liverpool nightclub…). Returning to the old complaint that Herrmann’s music was not exactly prime fodder for a marketable pop song (despite a somewhat incongruous Nat King Cole single sung to the main theme from Marnie which Herrmann refused to have anything to do with), the culprit seemed obvious.

When it came to Torn Curtain in 1966, Herrmann ignored Hitchcock’s repeated requests that the score should be different to their usual fare. As the latter wrote in an extended memo that served both as a plea and a warning, “I am particularly concerned with the need to break away from the old-fashioned cued-in type of music that we have been using for so long. This audience is very different from the one to which we used to cater. It is young, vigorous and demanding. It is this fact that has been recognized by almost all of the European film makers where they have sought to introduce a beat and a rhythm that is more in tune with the requirements of the aforesaid audience. This is why I am asking you to approach this problem with a receptive and if possible enthusiastic mind.” Giving an insight into Hitchcock’s expected reaction from Herrmann, Smith notes that the first draft included a sentence deleted before it was sent to the composer: “Will you please cooperate and do not bully me”.

As it happens, Herrmann’s reply was, at least on the face of it, unexpectedly accommodating: “Delighted to compose a vigorous beat score for Torn Curtain. Always pleased to have your views regarding music for the film”. This didn’t entirely alleviate concerns, as it prompted a production associate to remind him that these were not Hitchcock’s “views” but his requirements. Smith is careful to explain both sides, making Herrmann’s decision quite understandable: on Psycho he had rejected the decree that the shower scene should have no music, which turned out to be a masterful judgment, so why should he not ignore him again?

Unfortunately, when Hitchcock arrived at Goldwyn Studios on 24th March and listened to the handful of cues that Herrmann had recorded, he was so enraged that he cancelled the recording mid-session and sent the musicians home. Herrmann’s appeal to let him continue (not least given that they had already booked and paid for the remaining sessions) fell on deaf ears, and Hitchcock turned to composer John Addison to write a hasty replacement. Smith paints a poignant portrait of a relationship that never recovered: despite a few attempts on Herrmann’s part to mend fences, Hitchcock essentially cut off all contact with him, and for his last three films (Topaz, Frenzy, and Family Plot) he would instead engage the talents of Maurice Jarre, Ron Goodwin, and John Williams respectively. Smith’s account of the final days of both men (Hitchcock dying of renal failure in April 1980 and Herrmann of a heart attack in December 1975, the night after conducting the final recording session for Martin Scorsese’s Taxi Driver) is quite moving, bringing to an end a captivating account of the extraordinary friendship and film scores that did indeed change cinema.

[Ed · Rating 3 out of 5]

This is a book I’ve been waiting for as this is one of the great collaborations in cinema history. One the one hand, this is excellent and in chronicling and understanding both Hitch and Benny and was everything I wanted. On the other, this was really poorly edited and padded way the fuck out. It keeps getting interrupted by quotes about Herrmann that just slow it down. I’d add a full star if this was just edited with more common sense.

[Mediaman · Rating 3 out of 5]

Basic overview of the relationship between the movie director and composer. It rehashes a lot of things that are in other books, and then at the end we discover that this author has rehashed his own previous writings--he penned a 1991 book on Herrmann and includes much of that material here, including 40-year-old interviews!

There's nothing profound here and I was disappointed that there wasn't much more material included on a couple of the pairing's movies. North by Northwest is woefully short on inclusion here and that may be because the author thinks so highly instead of Vertigo, which pales by comparison to the Cary Grant film. Smith also hypes Psycho (saying the strings screeching is the single greatest line of music in movie history).

But what I wanted was more information and opinions that were fresh, but it seems like he gave up on that in order to get to the gossipy end of the Hitchcock/Herrmann pairing. It's sad when two stubborn, emotionally fragile men break up a long friendship. What isn't stated here (beyond a sentence) is their sexuality and how it may have impacted either of the guys in their personalities.

For some odd reason Smith insists on often quoting a radio play from England called "Benny and Hitch." It's fictional but a number of direct quotes from the script are used to support the author's theories about the two subjects. It went nowhere because the dialogue was all fake and I'm not sure why the author thought it should be included.

Smith also puts words in Hitch and Benny's mouthes, drawing conclusions about what the two thought or "must have" done. For example, in the case of Herrmann taking public credit for creating the shower scene music in Psycho against Hitchcock's wishes of silence, this author writes that it "must have felt like betrayal to the director." He does this often in the book where Smith guesses what one of his subjects is thinking or reacting to.

It needed more facts, less negative speculation on the two subjects, and more interviews with modern filmmakers about the impact of Hitchcock and Herrmann.

[S.W. Capps · Rating 5 out of 5]

Award-winning author Steven C. Smith has delivered again, this time with a detailed study of two Hollywood heavyweights and their complicated relationship. ‘Hitchcock & Herrmann: The Friendship & Film Scores That Changed Cinema’ not only chronicles that wobbly relationship—from its genesis on ‘The Trouble With Harry’ to its dissolution on ‘Torn Curtain’—but dissects it, giving the reader a behind-the-scenes look at the perfection-driven pursuits that brought them together, the consequent clash of two massive egos, and the industry pressures that ultimately tore them apart.

In the process, Smith not only weaves an entertaining story but provides deep insights into film making, specifically the marriage of picture & sound. There are comprehensive references to instrumentation, underscoring, tempo, and theme, but the writing doesn’t bog down with technical jargon. Instead, it inspires the reader to access these iconic scenes & title sequences (via YouTube) and experience them firsthand, using Smith’s narrative as a road map.

In so doing, the author exhibits the rare ability to write for the expert and the layman alike—without alienating either—while painting vivid pictures at every turn: “Just as a black and white image contains an uncountable range of gray-scale tones, Herrmann’s ‘black and white’ sound offers infinite varieties of orchestral color.”

As a reader of biography, I desire two things: (1) to gain a deeper knowledge of the subject matter; and (2) to feel a pronounced intimacy with the subjects. Smith expertly checks both boxes but also takes it a step further. As I closed the book, I had a deeper grasp of cinema, a stronger sense of Hitchcock & Herrmann as human beings, and an insatiable desire to watch their films—‘Psycho’, ‘North by Northwest’, ‘Vertigo’, etc.—again and again.

[Robert Bollinger · Rating 5 out of 5]

An entertaining and instructional novel that details the working relationship and the friendship of Alfred Hitchcock ( we all know him and his seminal works in film and Tv) and the less known Bernard Herrmann ( one of the most innovative score writers in film history). If you have never jumped to the shower scene in Psycho or been emotionally invested in movies ranging from Citizen Kane to Taxi Driver you are a different man than I . This subtle history of two mammoths in the film industry from the 30s to the 70s captures the fall of the old school studio controlled hierarchy and the growth of both independent filmmakers and the brand spanking new TV industry. Each of these men played a huge role in the transfer from the early talkies to the score laden heavily enthusiastic films of the post war years.' Hitch and Bennie' were both stars in the industry and purveyors of the new and bold to the world at large. Anyone who has felt the terror and suspense of Hitchcock's stories (films and tv series) or chilled to the intense nearly spectral emotional scores of Herrmann ( considered to this day as some of the best movie scores ever written) has experienced the mastery of these artists. What this book adds to the picture is the story of two friends and collaborators who together put out such pioneering films and TV series. Well worth the read and a shining new co-biography of the period.

[Critter · Rating 3 out of 5]

I would like to thank Netgalley and the publisher for providing me with an audio ARC.

I'll be honest and say I'm not really a fan of Hitchcock, but I do know how he is viewed by the larger horror audience. The first horror movie I watched was Psycho at too young of an age personally, but that didn'truin my love of the horrorgenre that eventually developed. So despite not really being a fan of Hitchcock's, I do have interest on his impact on the horror genre. I think this book really delves into the relationship Hitchcock had with Herrmann and really pushes that Herrmann also had a major impact on the horror genre as well, which I appreciated. I liked that we really got to see the rise and fall of the relationship between these two and their careers. I did find that the areas were individual films were discussed in their development to be more impactful. I do think that the writing was a little overly padded at times. The later sections of the book felt better written than the first sections. The narrator also did a great job with this book.

[Leslie · Rating 3 out of 5]

Thanks to NetGalley and Highbridge Audio for the ALC of this audiobook!

In Hitchcock and Herrman, Smith does a deep dive into one of the most iconic collaborations in film history. Professionally, they created some of the most tense, recognizable scores in Hollywood. New archival materials give insight into the relationship between “Benny and Hitch,” including why their partnership ended.

I love film history, and I’m a huge fan of Psycho, North By Northwest, Vertigo, etc. So I was stoked to learn more about the behind the scenes of these films and their scores. I listened to the audiobook, and I’m not going to lie, I wondered if it was read by AI. However, all documentation says it’s narrated by the author. Whether it’s him reading it word for word or his voice used by generative AI, I cannot speak to. This did make it more difficult to focus and not zone out, but overall it was informative and interesting.

I learned some things, especially about composition (a subject I’m not too knowledgeable about). Plus, old school Hollywood trivia and drama tickled my brain.

[David Sterritt]

Steven C. Smith’s new book, “Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema,” is rather breezily written, and it often defines musical terms in language that tries so hard to be universally understandable that it ends up sounding strained and telegraphic. But its pages are full of colorful anecdotes and interesting film-historical lore, much of which will be familiar to specialists but fascinating for regular moviegoers and music listeners. In all, an enjoyable volume and a good contribution to Hitchcock studies and Herrmann studies alike.

[Glenn · Rating 4 out of 5]

Illuminating and cogent. Sometimes the writing gets a little cutesy but otherwise impeccable.