Romancing the stone song There

Romancing the stone song

There is a long scene when Marion talks with Norman Bates Anthony Perkins at the Bates Motel and he reveals himself to be a very strange though likable young man who lives in a big eerie house on top of the hill. He stuffs birds and acts somewhat like a bird as he pecks at candy corn, and he loves his mother who he says mistreats him but she is ill. Marion feels sorry for Norman and because of their talk decides to drive home in the morning and return the money. After their conversation, she retires to her room in Cabin No. 1, and then comes the most famous moment in the First there was Marion throwing her ripped up paper into a toilet reportedly shown for the first time in a Hollywood film. When Marion first steps into the shower there is no music heard. Everything seems normal until a shadowy figure appears behind her and suddenly the shower curtain is pulled back and there is the sound of high-pitched bird-like shrieking strings. This cue was known as The Knife in Herrmanns score. Marion screams and the strings accompany her blood-curdling screams. This music came across like a bolt of lightning because it was so unexpected and some in the audience actually jumped in their seats when the knife starts cutting up poor Marion Crane. Then something happened Ill never forget several women in the audience were screaming at the top of their lungs and holding their stomachs as if somebody punched them or maybe they were ready to throw up as they quickly ran out of the theater. These were adult women, not teenage kids like at todays scary films. Most of the audience was made up of older folks at least older than me so to hear them screaming was quite a shock to me and added more fear to the murder being shown so gruesomely on screen. It was total hysteria in that theater when this famous shower scene took place. Everyone who saw it then believed that Marion Crane was getting sliced up in that shower. And wasnt she Janet Leigh one of the films stars? I actually heard one of the women say to her freind sitting behind me, How could it be that a star gets killed like that? Well it did happen and Hitchcock deserves much credit for keeping it a secret until the film was released. Unfortunately, this scene has become so familiar that the thrill of surprise is no longer there but the music has remained just as effective in scaring the daylights out of many people. One of the most innovative and imitated scores was composed by Bernard Herrmann for Hitchcocks classic thriller, PSYCHO. The use of strings for what Fred Steiner called Herrmanns black and white music. It was unheard of at that time. Incredibly, Herrmanns score was not nominated for an Oscar. And which score did win the Oscar for Best Film Score? It was EXODUS, a good score, but hardly as trend-setting as Herrmanns memorable PSYCHO score, which is much more than just those shrieking strings in the murder scenes. The rest of the score using only strings is just as effective in setting the moods and raising the suspense levels of various scenes and the score fully deserved to win an Oscar, or at least be nominated. On this 50th anniversary of the film and score, what should be remembered is that when it was first shown in theaters, the audiences experienced a tremendous thrill of surprise and shock. A great deal of credit Hitchcock said it at least a third of the success was due to Bernard Herrmanns thriller had a romancing the stone song written screenplay by Joseph Stefano Writers Guild Award, based on Robert Blochs 1959 novel of the same name which is more graphically gruesome and based on a real person, Ed Gein from Wisconsin, who murdered several women and attempted to dress like his dead mother. The film has excellent acting by all, but especially from Janet Leigh, Vera Miles Marions sister Lila Crane, Anthony Perkins his best ever romancing the stone song role and Martin Balsam playing the investigator, Milton Arbogast. But probably the best remembered things about this film are the three knife scenes planned so effectively by Alfred Hitchcock and the chilling film score by Bernard Herrmann with those shrieking strings.

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