The Daily

Posts Tagged ‘Psycho’

Psychos, Pencils, and Fines

August 8, 2012 | by

  • This terrific German blog gives the pencil its due (and, perhaps, then some).
  • In a time when e-books outsell their paper counterparts, NPR wonders whether cover design is a dying art.
  • In a gesture of either great magnanimity or great desperation, the Chicago Public Library waives all fines.
  • Movies you may not have known were inspired by books. (In the case of Psycho, probably because Hitchcock tried to buy up all the copies so there’d be no “spoilers.”)
  • On the one hand, we take issue with some of the rankings on this list of the hundred greatest young-adult novels. On the other, it’s encouraging to know kids are voting. (At least, we hope that’s the explanation.)
  • In obligatory Fifty Shades of Grey news, author E. L. James is curating an album of the classical music featured in the trilogy. (For the uninitiated: in addition to being the world's youngest billionaire and most accomplished lover, Christian Grey is also a world-class musician.)
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    The Star-Crossed

    November 10, 2011 | by

    A few weeks ago, I went to the local art-house cinema in Royal Oak, Michigan, to see Gus Van Sant’s Restless, starring Dennis Hopper’s son, Henry Hopper, and the sensitive indie-girl du jour Mia Wasikowska. The movie is in many ways a conventional love story: awkward boy meets awkward girl; they both have secret traumas that they eventually reveal to each other; they support each other emotionally when the rest of the world is unable; they have a fight; and then, by the end, they come to a greater acceptance of each other. But one director’s trite structure is another’s fresh material. If Van Sant had made nothing but offbeat romances, Restless might have been boring. But he is one of the most experimental filmmakers we have, and his decision to helm an ostensibly ordinary love story is, itself, anything but ordinary. Read More »

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    Staff Picks: Food Rules, the American Dream

    October 28, 2011 | by

    I turned to a former history professor of mine, Niall Ferguson, for some interesting thoughts on Wall Street: “The American Dream is about social mobility, not enforced equality.” —Natalie Jacoby

    Michael Pollan’s wildly informative Food Rules: An Eater’s Manual gets an update, with new rules as well as illustrations by Maira Kalman. —Jessica Calderon

    What better way to get your Halloween thrills this weekend than with the Bernard Herrmann double features at Film Forum? His marvelously affecting scores were instrumental in making movies like Psycho, The Birds, and Vertigo so atmospheric and disturbing. —Deirdre Foley-Mendelssohn

    I’ve been thinking about Galicia lately, what with Andrzej Stasiuk’s Dukla having just been released by Dalkey Archive, so it was a nice surprise to come across Timothy Snyder’s fascinating history of the region in the latest New York Review of Books. Nicole Rudick

    Ever since I began patronizing NYC’s Treats Truck, I have been curious about the secret of their scrumptious Butterscotch Pecan Bar. Imagine my delight, then, when I learned they are releasing a cookbook! I’ve preordered my copy, and the office will doubtless reap the rewards. —Sadie Stein

    This week I reread Allen Ginsberg’s 1966 interview in The Paris Review and found myself wandering back to the excellent recording of his poem “America” at the Poetry Archive. —Emma Gallwey

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    Who is Bernard Herrmann?

    June 23, 2011 | by

    The name Bernard Herrmann may not be as familiar as Aaron Copland or Samuel Barber, but you’d know his music instantly. Some of it—the shrieking strings from Psycho’s shower scene, for instance—is as famous as anything written in a classical idiom this century.

    Herrmann wrote film scores—most notably, nine for Alfred Hitchcock, including VertigoNorth by Northwest, and The Man Who Knew Too Much. But despite his music’s indirect fame, Herrmann (whose centenary is June 29) has yet to get his due as a serious composer. And he was one. His life had the dramatic arc of a great twentieth-century maestro: expulsion from Juilliard, works commissioned by the New York Philharmonic, major awards, an underappreciated symphony, friendship with Charles Ives, a feud with Leonard Bernstein.

    The word centenary usually implies fanfare—live performances, retrospective essays, new biographies competing for the cover of the New York Times Book Review. But scrolling through the News and Events section of bernardherrmann.org is underwhelming. There’s a smattering of concerts, mostly abroad (Edinburgh, Bristol, Frankfurt) and nothing from the New York Philharmonic that once performed his music. Herrmann’s estate is once again trying to sell the original score to Psycho (in 2009, it was sheepishly withdrawn from auction when it failed to garner a minimum bid). The Minnesota Opera is staging Herrmann’s forgotten opera based on Wuthering Heights. Perhaps a headline in the Twin Cities Daily best sums up the state of affairs three decades after the composer’s death: Who in the world is Bernard Herrmann?

    I recently bought a few Herrmann sound tracks but, after listening to them, found them disappointing. Something was conspicuously absent. I couldn’t shake the feeling that I was listening to the sound track of a missing movie.

    Is there a way to free film scores—especially those as artistically rich as Herrmann’s—of their film-cue obligations without deflating them? Can casual listeners appreciate Herrmann without the aid of Jimmy Stewart following Kim Novak around 1950s San Francisco? Maybe scores could thrive in a different context. In honor of Herrmann, I conducted an experiment. I loaded two scores, Psycho and Vertigo, onto my iPod and tried them out as personal sound tracks for wandering around New York.

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