Ambivalence and Order in Bernard Herrmann's Score for Vertigo

30 Pages·2008·2.87 MB·English

"The Moment That I Dreaded and Hoped for": Ambivalence and Order in Bernard Herrmann's
Score for Vertigo
Author(s): Antony John
Source: The Musical Quarterly, Vol. 85, No. 3 (Autumn, 2001), pp. 516-544
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3600995 .
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"The Moment That I Dreaded and
Hoped For": Ambivalence and Order in
Bernard Herrmann's Score for Vertigo
AntonyJ ohn
Slightedb y criticso n its originalr elease,1V ertigho as subsequentlbye en
haileda s the apotheosiso f the collaborationb etweenA lfredH itchcock
andB ernardH errmanni,n deedo f Hitchcock'es ntireo euvre.2M oreover,
it hasb ecomeo ne of the mostw idelya nalyzedfi lmsi n historyp, roving
a consistentlyfe rtileg roundf orf ilms cholarsY. et,w hilet he central
themeso f voyeurisma ndo bsessiona, ndo f love andd eath,h ave been
thoroughlyil luminatedth rought he examinationo f filmici magesa nd
dialogueH, errmanns'sc oref orV ertigho as,b y comparisonb, een some-
whato verlooked.T3 his neglecti s surprisingsi, nce the samet hemest hat
resonatet hroughouVt ertigcor iticisma reo ftenp refigureodr reconfigured
musicallyH; errmanns'sc orem aintainsa n activer ole in Hitchcock's
complexn arrativeT. his articlee xplorest hat role,f ocusingi nitiallyo n
the meansb y whichH errmannm's usicf ostersi dentificationw ith the
malep rotagonis(tS cottie,p layedb y JamesS tewart)a ndt hen on the
musicalg esturesa ndt echniquest hat sustainy, et complicatet his identifi-
cation.I n ordert o facilitatea nalysist,h e sectionso f this essayr eflectt he
tripartitem usicalf ormu nderlyingV ertigoa: p relude( the openingc red-
its), threen arrativem ovements( of almoste quall ength),a nda coda.4
Prologue: Music and the Male Gaze
Writerso n cinematici dentificationa rea t painst o expoundt he com-
plexityo f the spectator-filmre lationshipJ.o hnE llise xplainst he duality
of the processt hus:" [I]dentificatioinnv olvesb oth the recognitiono f self
in the imageo n the screen,a narcissistiicd entificationa,n dt he identifi-
cationo f selfw ith the variousp ositionst hat arei nvolvedi n the fictional
narrationt:h oseo f heroa ndh eroine,v illain,b it-partp layera, ctivea nd
passivec haracter."I5n otherw ordst, he processo f identificationd oesn ot
exclusivelyim plyc onnectionw ith a centralc haractear nym oret han it
impliess ame-sexr ecognition( men identifyingw ith malec haracters,
womenw ith femalec haracters)A. s LauraM ulveyh as shown,h owever,
classicaHl ollywoodc inemah asp redicateda systemi n whicht he male
The MusicalQ uarterly8 5(3), Fall 2001, pp. 516-544
? 2001 Oxford University Press 516
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Ambivalenacen dO rderin Vertigo 517
point of view is privilegeda ndf orgesa connectionb etweenm alea nd
activeo n one hand,a ndf emalea ndp assiveo n the other.6M en are
"bearerso"f the look,w omen" objectso"f the look,w ith the cameraa ct-
ing as a surrogatfeo rt he "maleg aze."T his practiceh as been interpreted
as a ramificatioonf the maled esiret o objectifyw oman,t o shapea nd
controlh er.
The influenceo f the maleg azem ayb e discernedth roughouVt er-
tigo,i ncludingt he scene in whichM adeleine( playedb y KimN ovak) is
introduced-not glimpsedo, r seen,b ut specificallyin troduced-bothb y
Hitchcock( to the spectatora) ndb y Elster( playedb y TomH elmore)
(to Scottie).A s Scottie,s eateda t the bari n Emie'sr estaurantlo, oks
overh is shouldert,h e cameraf ollowsh is gaze.T rackingsm oothlya cross
the restaurantt,h e camerar evealsa diningr oomd ecorateda lmoste n-
tirelyi n a deeps hadeo f reda ndp opulatedo n the wholeb y peoplei n
darkc lothing.T he pictorialc ompositiono f the scene is designedt o draw
the spectatorto wardM adeleine'cso mplementarbyl ackd ressw ith green
stole,a ndt herebyt o Madeleineh erself.A s the cameraz oomsi n on
Madeleinew, e hearh er themef ort he firstt ime." Madeline"(7se e Ex. 1)
commandas ttentionf ora numbero f reasonsi:t is recognizablaes a
theme( even beginningw ith a standardfo ur-measurpeh rase)a, rarityi n
Herrmann'ssc ore;i t is scoredo nly form uteds tringsa ndi s therebys epa-
ratedt imbrallyfr omt he precedingc ues;a nda n emphasiso n suspensions
at the beginningo f measurelse ndst he cue a melancholya ir.8I n short,
the themee stablisheas moodo f poisea ndg race,a ndy et alsoo f vulnera-
bility,w hich,i n the contexto f the scene,a rec haracteristicwse attribute
to Madeleineh erself.W hen she leavest he tables he advancest oward
ands tandsi n profileb eforet he cameral,i ngeringw hilet he musics oars
to a climax.T he wholes cene is a stereotypeo f the verym aleg azei n
Hollywoodf ilmt hat Mulveyc ritiques": Int heirt raditionaelx hibitionist
rolew omena res imultaneousllyo okeda t andd isplayedw, ith theira p-
pearancec odedf ors trongv isuala nde rotici mpacts o that they can be
saidt o connotet o-be-looked-at-nesHs."er9r mannm's usicalc omposition
provesn o lesss eductivet han Hitchcock'vs isualc ompositiona, ddinga n
aurald imensiont o Mulvey'es xclusivelyo cularc ritiqueT. hrought he
combinationo f musica nd image,w e are( withS cottie) invitedt o objec-
tify Madeleinef romt he momentw e firsts ee her.10
Filmp rivilegesth e malep erspectivbe y bestowingn arrativea gency
upont he male.S ince as spectatorws e sharea similard esiret o control
narrativew, e arep redisposed(w illinglyo r otherwise)t owardi dentifica-
tion with a malep rotagonista, s the active" looker"in film.I n Vertigo
Hitchcockd eliberatelyex peditest his processb y meanso f variousn arra-
tive andc inematict echniquesT. he castingo f the sexuallya ndm orally
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? v C
518 The MusicalQ uarterly
Lentoa moroso
mutes _
Vlns tv
I ! j r T e IJ
Va mute
mute
Vc 'Ii , ht ; J , .I
T;C'-4' *1 *
Example1 . "Madeline,"m m. 1-4. FromV ertigoB. y BernardH errmann.C opyright? 1958 (Renewed
1986) by FamousM usic Corporation.I nternationalc opyrights ecured.A ll rights reserved.R eprinted
by permission.
assuredJ immyS tewartf, ore xamplew, ouldh ave convincedc ontempo-
rarya udiencesth at the charactero f Scottier epresentetdh e irreproach-
ableg oodg uy,t herebyf acilitatingid entification.1T1h e point-of-view
shotst hat dominatet he earlyp arto f the filma lwaysp laceu s firmlyi n
the positiono ccupiedb y Scottie.A s he drivesa longt he mazeo f streets,
we see thoses treetsa s thought hroughh is eyes;w e shareh is senseo f
confusiona ndt herebye xperiencew ith him the pursuiot f Madeleine.
Cruciallyh, owevert, he pursuitis problematicf,o r (or so we think)
Madeleineis unawareth at she is beingf ollowedT. he act is thusr en-
deredi nherentlyv oyeuristica, ndM adeleineh erselfi s objectifiedA. lso
problematicallsyh, e remainst,h roughoutth e firstm ovemento f the film,
a ghostlyf iguref, leshedo ut only by the spectator'dse sireo f whats he
couldr epresents,i nce therei s no on-screeni nteractionb y which
she mayd evelopa s a characterin her own right.I n otherw ordsa, s
spectatorws e arei n the territoryo f fantasya, fantasyt hat Hitchcock
nightmarishleyx posesi n the finalp arto f the film.
If the foregoingd iscussionle avesu s feelinga s thoughw e arei n
freefallt, his shouldc omea s no surprisen, or shouldt he ambivalendt esir-
abilityo f this sensationT. he veryt itle Vertigroe ferst o the feelingo f
freefalla ndp refigureSsc ottie'sa crophobiaa, sensation" explained.. . by
psychologistass arisingf romt he tensionb etweent he desiret o fall and
the dreado f falling."1O2 bjectifyingM adeleinec, ontrollingh er,b ecomes
forS cottie (and,b y implicationf,o ru s) a highlyd esirableo bsessionb, ut
the futilityi nherenti n sucha n obsession( neitherh e nor we can control
everythingc) onstitutesa n alienatinga ndd ebilitatingfo rce.H enceS cot-
tie'sd escentt hroughoutth e filmm ayb e consideredr,e trospectively,
as an inevitablep rocesst hat,a s we shalls ee, beganb eforet he film
commenced.
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Ambivalencea nd Orderi n Vertigo 519
Prelude: Objectifying Woman
Vertigoo'sp eningc reditsa rep erplexinga, n elaborateg raphics equence
that ostensiblyh as little relationshipto the filmt hat follows.W e may
wonderf, or instance,w hosef acew e see framedfe atureb y featureb, ut to
do so missest he point.I t is the faceo f femalea nonymitya, dislocated
face,t he dismantlingo f whichi nvitesu s to (re)constructth e woman,
muchi n the mannert hat we will, throughS cottie,c onstructo uro wn
"Madeleine.F"r omt he eye emergesa crudelya nimateds pirala, graphic
realizationo f the endlessd escente ngenderedb y vertigoa nda n analog
to the zoom-ina ndt rack-ouct amerae ffectd esignedt o recreatet he sen-
sationo f vertigo.T hus,t he preludev isuallyf oreshadowtsw o abiding
themeso f the film:t he shatteringo f femalei dentitya ndt he debilitating
forceo f vertigo.
The musicalp reludet hat accompanietsh is openings equencei s as
unusuaal s its visualc ounterparTt. he repetitives, piralinga rpeggioisn
contrarym otiona t once forewarno f vertiginouds escent( see Ex. 2) and
seemt o createt he animateds piralst hat emergea s the mainl ove theme
is introduced(s ee Ex.3 ). Furthert,h e opposingm usicalg estures( the
arpeggioas ndl ove theme)r esista straightforwardtolyn alc lassification;
the mostp lausiblek eys( E-flatm inora ndA minor,r espectivelyy) ielda n
unsettlingt ritoner elationshipT. he arpeggioisn high windsa nds trings
area lsos eparatedre gistrallayn d instrumentallfyr omt he punctuating
low-brascsh ordst hat interjectd uringt he firstm inuteo f the prelude,
creatingt he strikingt imbraol ppositiont hatp ervadeHs errmanns'sc ore.
As mucha s the combinationo f imagesa ndm usici n the prelude
forgea n indeliblet hematicc onnectionb etweent he dizzyinge xperience
of vertigoa ndl ove fort he ideal( i.e., imaginedo r constructedw) oman,
both visuallya ndm usicallyt,h eset hemesa ppearir reconcilableT. hough
Scottieo bjectifieMs adeleinee, ven attemptingto reconstrucht er
througha notherw oman( Judy)v, ertigot hwartst he successfucl omple-
tion of his task.F orS cottie,v ertigoi s not merelya fearo f heights,b ut a
perpetuarl emindero f his inabilityt o controle vents.I n the contexto f
the film,t his manifestsa s a failuret o maintainn arrativec ontrol,o r at
the veryl east,t he illusiono f narrativec ontrol.Y et,s o fundamentails
the desiret o controlt hat it mayb e seen as the centrali ssueo f the first
movement.
First Movement: Pursuing Madeleine
The two-measurreh ythmica ndh armonico stinatot hat accompanies
Scottiea s he followsM adeleinea roundS an Francisco(" Madeline's
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520 The MusicalQ uarterly
Moderato assai
13 333
Fls. f
I Vlns. r
ff
r3 _ 3 r 3 -- 33
Iv^lc@s:4 'b br bJP r r rL
ff
El minor
Example2 . Spiraling arpeggios,p relude, mm. 1-2. FromV ertigoB. y BernardH errmann.
Copyright ? 1958 (Renewed 1986) by FamousM usic Corporation.I nternationalc opy-
right secured.A ll rights reserved.R eprinted by permission.
36 con 8va ___________------__-
OTCbrpo.etAss. 0.I [o , ,N?o :d b, ? - " __ .A-A t -
P ff
Trbs. l ' l,, ,,
Basses _ _ _ _ _
p ff
A minor
Example3 . Love theme, from prelude, mm. 36-41. FromV ertigoB. y BernardH errmann.C opyright
? 1958 (Renewed 1986) by FamousM usic Corporation.I nternationalc opyrights ecured.A ll rights
reserved.R eprinted by permission.
Car") is far removed from the seductive theme ("Madeline") that pre-
cedes it (see Ex. 4). Rhythmically and harmonically unvarying, it em-
phasizes motion without progress, Scottie's furrowed brow reflecting our
collective confusion. Harmonically, the ostinato oscillates between
chords that allude to a dominant seventh (with B-flat root) and a French
augmented sixth.13 Deprived of a tonal context, however, neither the V7
nor the Fr6 resolves in its customary manner. Instead, they appear as dis-
embodied chords, hinting at the possibility of harmonic motion, of disso-
nance and (through resolution) consonance, but without ever realizing
their harmonic potential. They represent an axis: two chords that differ
in quality but are closely related in their pitch constitution (see Fig. 1).14
Although the pursuit appears to be narratively static, it ostensibly
establishes Scottie as controlling agent, in terms of both the narrative
(we see what he sees) and the gaze (through watching he controls some-
one who is unaware that she is being watched). In short, the act of pur-
suit at once facilitates spectatorial identification with Scottie and ap-
pears to establish him as the agent of narrative control. On another
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Ambivalencea nd Orderi n Vertigo 521
Molto moderato
Cls. [*(v 1~~~~~~- - -L v
f
I i f1 __ _ _
B. Cls. 6~K 6 ~hi YYJ
If9: :bn -
pp
V7 Fr6
Example 4. "Madeline's Car," mm. 1-2. From Vertigo. By Bernard Herrmann. Copyright
? 1958 (Renewed 1986) by Famous Music Corporation. International copyright secured.
All rights reserved. Reprinted hy permission.
Spiralinga rpeggios( prelude) Love theme (prelude)
r---- 3 ____ _ r_ 3- --
rJ
6^i IJ j I
b da X
__ 3 -- L--- 3
///J ~V7 Fr6
6i -? I o s I I
'. -------.-----.. ------------ .' '--................--- '~
Potential Potential
resolution resolution
Figure 1. V7-Fr6 axis.
level, however, Scottie's voyeuristic pursuit of Madeleine inevitably be-
stows on her a degree of control. For although we experience narrative
through Scottie's eyes, it is specifically Madeleine's narrative. Scottie's
willingness to follow her wherever she goes implies a surrender of narra-
tive control. This narrative ambivalence (Scottie simultaneously con-
trols and is controlled by narrative) is reflected in the harmonically
ambivalent V7-Fr6 axis. By refusing to resolve either of these dissonant
chords to a consonance, Herrmann offers no musical-narrative conclu-
sion, instead maintaining, like Hitchcock, Scottie's (and our) ambivalent
state.
Retrospectively, Scottie's desire to control through pursuit may be
compared to our desire to reconstruct (and thereby control) the disem-
bodied woman depicted during the prelude. Musically, too, the prelude
may be considered the origin of the V7-Fr6 axis, for the essential gestures
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522 The MusicalQ uarterly
aret he E-flat-minosrp iralinga rpeggio(sa potentialr ealizationo f the
V7) andt he love themei n A minor( a potentialr ealizationo f the Fr6).
True,t hesep otentialr ealizationosf the V7-Fr6a xiso ccurredb eforet he
axisi tselfw asf irsth eard,b ut this doesn ot invalidatet he observation.
The need to look into the pastt o makes enseo f the presenta ndt o
reassestsh e pasti n light of the presenti s a narratived evicee mployed
oftenb y Hitchcocki n his effortst o keept he spectatorc onstantly
unsettled.
Scottie'sp ursuito f Madeleineu nfoldsa s a struggleto reestablish
narrativea gencyw ithint he contexto f her increasingliyr rationawl an-
deringsa, processt hat owesm ucht o Herrmannm's usic.F ore xample,i n
one sequenceS cottief ollowsM adeleinet o MissionD olores( "TheM is-
sion"),e nters,w alkst hrought he church( "MissionO rgan"t)o the grave-
yard,a ndo bservesM adeleinelo okingi ntentlya t a gravestonew, hichw e
subsequentllye arnb elongst o CarlottaV aldes( "Graveyard"F)i.l med
entirelyw ithoutd ialoguew, e arep articularlrye ceptivet o musica s an
indicatoro f significannt arrativee vents.
"TheM ission,"h earda s Scottiep ullsu p outsidet he whitewashed
church,i s a harmonicallsyt aticc ue with pedalA -flata ndB -flatp rovid-
ing an axisa roundw hichr evolvesa scalarm elodicl ine. In combination
with the pedalt ones,t his line constitutesa varianto n the V7-Fr6a xis.
Deprivedo f tonalc ontexta ndt herefored irectionlesisn termso f the
musicaln arrativei,t complementSs cottie'sl abyrinthinpe ursuiot f
Madeleinep erfectlyA. lso noteworthyis the vertiginouds escentm usi-
callyr enderedo vert hreeo ctaves,f romh igh windst o low stringse, scort-
ing us, as it were,t o the graveyard.
"MissionO rgan"is one of the leastc haracteristiccu esi n the score,
insofara s it is explicitlyt onal (A minor)a nde xhibitsc ompletec losure
througha perfecta uthenticc adence( see Ex. 5). Moreoveri,t is the only
cue that usesa churcho rgan,a naturacl hoice that effectivelys ignifies
locationa ndp rovidesa comfortingti mbrasl hifta ftert he unsettling
Hammondo rgano f the previousc ue.15D espitet he tonalb ias,h owever,
this cue is linkedt o the previouso ne by a furtherm usicale vocationo f
the vertiginouds escent.T his time the effecti s achievedb y meanso f a
sequencea, lthougho ne that, in traversintgh e musicalg roundf rom
tonic minort o tonic minor,a ndw ithoutt he suspendedse venthsw ith
whichi t is customarilays sociatedl,e avesu s with the teasings ensation
that we areb eingl ed somewhere(m usicallyn, arratively)o,n ly to dis-
covert hat we have maden o progresas t all, muchl ike Scottiea s he fol-
lowsM adeleine'esv erys tep.
"Graveyardc"on trastss tronglyw ith the previousc ue ands eparates
internala nde xternals pace.T onalh armonyh as been replacedb y chro-
matich armonya, nda singlet imbrael ntity (the organ)h asb een re-
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Ambivalenacen dO rderin Vertigo 523
Organ
"-
- f Xm i- o JJ J' I-" J J J_
o
9): r r al ----rr '' j o.. _ J .. J J
.?~. -
?
0 (0) I (.. ) I 0? , , _ I
tu7
7 7 7 7 7 7 7 7
7 7 7
Example5 . "MissionO rgan."F romV ertigoB. y BernardH errmann.C opyright? 1958 (Renewed
1986) by FamousM usic Corporation.I nternationalc opyrights ecured.A ll rights reserved.R eprinted
by permission.
placed by the stratifieda nd unblending timbreso f muted violins and
bass clarinets. The registralg ulf that separatest he groupso f instruments
seems to reflectt he incompatibilityo f the ethereal (irrational)M adeleine
with the earthly (rational) Scottie, while the high violins playing a vari-
ant of Madeleine'st heme in intentionally saccharinet hirdsp rovide an
apt musical analog to the soft-focusp hotography.A s with the priorc ues,
musical progressi s an illusion: cadences, such as they are, come to rest
on second-inversionc hords;t he violin lines seem to repeat material,b ut
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524 The MusicalQ uarterly
with subtlea lterationst;h e violinsg entlyh one in on a specificd yad,
only to treatt hat dyada s nothingm oret han a momentarrye stingp oint;
the bassc larinetsb rieflya lludet o a cleart onalp rogressio(nI -IV-ii-V-I),
althought he notiono f a clearlyd efinedt onic is meaninglesisn the con-
text of the entirec ue.16T he cue even alludest o the tritonea xiso f the
preludes, ince it beginsi n A minora nde ndsi n E-flatm inor;b ut because
it lacksa clears enseo f tonalp rogressionth, e cumulativee ffecti s of a
momentf rozeni n time.
Fort he sequenced escribeda bove,H errmannco mposedt hreem u-
sicallyd istinct,y et functionallysi milarc ues.E achp resentsa musical
evocationo f the endlesss piralingd epictedb y the imagesa ndm usic
of the openingp reludeI. t is not by chancet hat a descendingr egistral
motionp revailsin each cue, as this conveysa t once the sensationo f
vertiginouds escenta nda senseo f anticlimaxo, f a narrativep romisele ft
unfulfilledO. stensiblyt,h en, the musich as informedu s of nothingn ew,
narrativelsyp eakingi,n steadr einforcingth e sensationt hat we aree xpe-
riencing( withS cottie)a serieso f bizarrea ndi mpenetrableev ents.B ut
to stoph ere is to misst he reali mportancoe f the sequencea nd its at-
tendingc ues.F ort he firstt ime,S cottieh as left his own rationasl pace
(modemS an Franciscoa) nde nteredM adeleine'isr rationaslp ace( the
Gothicg raveyardA). s we have alreadys een, the shifti s effectivelyr en-
deredt hrought he photographicco mpositiono f the graveyarsdc ene,b ut
it is no lesse ffectivelyc onveyedt hroughm usic.F romt he jarringt,o nally
ambivalensto noritieso f the firstc ue, throught he tonalh armonyo f the
second,t o the fluidc hromaticismof the third,H errmanntr ansportuss
musicallyfr oma n alienatingt o an invitings oundw orld,a nalogoutso
the shiftf roma rationalt o an irrationanl arrativesp ace.I n otherw ords,
we, the rationals pectatorsf,i ndo urselvesb eings educedl, ike Scottie,b y
the irrationaslt oryo f Madeleinea ndC arlotta.
Yett he sequenced escribeda bovei ncludeso ne lastc ue, hearda s
Scotties eest he gravestonew ith the name" CarlottVa aldes"c arvedo n
it. "Tombstonei"s a mini-reprisoef the firsto f the threec uesw e consid-
eredi n this section," TheM ission,"a ndi s the firstt o privilegea narra-
tive event, a fortissimod ynamicf orcefullyr egisterintgh e importancoe f
Scottie'sd iscovery.1T7h is contrastss harplyw ith the previousth reec ues,
all of whichr angef romp ianississimtoo piano.I n additiont o the narra-
tive importo f this cue, one mayo bservet hat by reprisingth e V7-Fr6
axis,t he finalc ue is linkedt o the rationaln arrativesp aceo f the firstc ue,
creatinga musical-narratifvrea me( see Fig.2 ). The discoveryp rovides
Scottiew ith his firstc lue, buoyingh im in his roleo f rationafl oil to
Madeleine'isr rationaslt atea ndr eaffirmin(gt he illusiono f) his narrative
control.I n summaryth, rought he entires equencet he irrationa(lp erson-
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