"Bruno's Shoes Walking Vs Guy's Shoes Walking": Great Visuals and Music
Bernard Herrmann scored the largest number of Hitchcock films (8):
The Trouble With Harry
The Man Who Knew Too Much '56
The Wrong Man
Vertigo
North by Northwest
Psycho
The Birds(sound consultant for a "movie without music")
Marnie
...Dimitri Tiomkin comes in second, I believe, with four
Shadow of a Doubt (1943) and then "all bunched together at Warner Brothers:
Strangers on a Train (1951)
I Confess(1952)
Dial M for Murder (1953)
and that's all.
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My vote for the "Best Hitchcock Tiomkin Score" is: Strangers on a Train (1951.) Partially this is because this is the best Hitchcock film that Tiomkin scored, filled with great scenes and set-pieces(including that lollapalooza berserk carousel climax with Tiomkin's crazed music all the way.)
And this: I LOVE Tiomkin's "music for Bruno's shoes walking versus Guy's shoes walking." Hitchcock is in charge of the visuals: (1) How the shoes of the men walking in them keep coming closer and closer and closer together until they are seated and the shoes TOUCH and (2) how Guy's shoes are "modest and sensible" but Bruno's shoes are flamboyant big brogues.
But also this: I love how "Bruno's shoes" get a much BIGGER theme than "Guy's shoes." Weirdly I always feel that "Bruno's shoes" get a kind of "seagoing, nautical theme" -- like the giant Titanic leaving port, even as "Guy's shoes" get an almost delicate "femme" sound."
The rest of Tiomkin's SOAT score is rather "standard Tiomkin" except for the rather otherworldly, eerie, slinky and slithery violin piece that signals (to me) the madness of Bruno Anthony.
And dig this: Dimitri Tiomkin also scored the Howard Hawks -John Wayne WESTERN Rio Bravo in 1959 --and I think that the music in Rio Bravo and Strangers on a Train SOUNDS ALIKE.
Maybe its something about both movies being from Warner Brothers in the fifties -- with a then standard "Warner Brothers echo chamber" sound sytem on all dialogue and a kind of "assembly line" feeling to the final product.