NOTORIOUS – Roy Webb
MOVIE MUSIC UK CLASSICS Original Review by Craig Lysy The genesis of the film arose in 1944 from renown producer David O. Selznick and director Alfred Hitchcock who conceived a story of a woman sold into sexual enslavement for political purposes, which was based on the short story “The Song of the Dragon” (1921) by…
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MOVIE MUSIC UK
MOVIE MUSIC UK CLASSICS

Original Review by Craig Lysy

The genesis of the film arose in 1944 from renown producer David O. Selznick and director Alfred Hitchcock who conceived a story of a woman sold into sexual enslavement for political purposes, which was based on the short story “The Song of the Dragon” (1921) by John Traintor Foote. William Dozier an RKO executive was also interested in bringing the story to the big screen and saw opportunity when he learned that Selznick’s production of “Duel in the Sun” (1946) was significantly over budget. He negotiated a purchase deal for $800,000 and 50% of the profits, which specified that Alfred Hitchcock would be the director, Ben Hecht the screenwriter, with Cary Grant and Ingrid Bergman as the starring actors. Alfred Hitchcock took on the reins to also produce the film with RKO Pictures providing a $1.0 million budget. Hitchcock assembled a cast for the ages with Cary Grant as agent T. R. Devlin, Ingrid Bergman as Alicia Huberman, Claude Rains as Alexander Alex, Louis Calhern as Captain Paul Prescott, and Leopoldine Konstantin as Madame Anna Alex.

The story is set in 1946 and offers intrigue in the post WWII espionage underworld. Alicia Huberman, the American daughter of a Nazi spy is recruited by a U.S. government agent T. R. Devlin to infiltrate an underground Nazi organization, which has relocated to Rio de Janeiro Brazil. Things become complicated when Devlin falls in love with Huberman and then is ordered by superiors to instruct her to seduce one of the group’s members Alexander Alex. She succeeds beyond expectation when he proposes marriage, yet she is devastated when Devlin directs her to proceed with the marriage. Things go awry however when Alex discovers Huberman’s duplicity. His mother begins poisoning her coffee with uranium to silence her, and to avoid exposing his complicity in allowing someone to infiltrate the group. Alicia becomes deathly ill but is saved when Devlin comes to her rescue and admits to her that he truly loves her. Devlin leverages exposing Alex’s complicity to his compatriots to escape, leaving Alex exposed and doomed to retribution by his fellow Nazis. The film was a massive commercial success, earning a profit of $23.5 million. Critics heaped praise for Hitchcock’s achievement, yet the Academy Award nominations were tepid, securing just two for Best Supporting Actor and Best Screenplay.

Director Alfred Hitchcock’s first choice to score the film was Bernard Herrmann, however he was unavailable as he was working on 20th Century Fox’s production “Anna and the King of Siam”. As such, Roy Webb, RKO’s reliable and resident composer, was tasked with the job of writing the film score. Hitchcock did not like the broad melodic gestures and florid romanticism Miklós Rózsa brought to his last film “Spellbound” (1945), which he believed interfered with his directing. He appreciated and valued Webb’s less intrusive, atmospheric, and more subtle tonal sensibilities. It turned out that Hitchcock bonded with Webb, and was very pleased with the score’s final outcome. Remarkably despite their rapport and Hitchcock’s happiness with Webb’s efforts, this film constitutes their only collaboration.

Webb understood that this was an espionage tale full of deception and intrigue, and that he would have to create the suspenseful undercurrents to support the film’s narrative flow. With the setting in Brazil, he also sought to imbue the score with the requisite cultural sensibilities and rhythms utilizing tambourines, guitars, drums and trumpets Brasiliane. Latin dances would offer the backdrop for Alex and Alicia’s whirlwind romance with numbers such as “Carnival no Rio”, “Meu Barco”, “Guanabara” and two Sambas; “Ya Ya Me Leva” and “Bright Samba”. For the Nazi’s he would interpolate Carnaval, Opus 9, by Robert Schumann, as well as a valzer gentile. For his soundscape Web provides a single primary theme, the Love Theme. It is borne by sumptuous strings romantico and offers classic Golden Age sensibilities. Webb is quite versatile in its application, as it is not always forthright and obvious given that Alicia yearns for Devlin, who she believes has abandoned her, while Devlin stews with jealousy and fear from being complicit in the agency’s use of her to seduce and marry Alex. The Theme runs the full spectrum of emotions, which reflect their conflicts, choices and regrets. To support the suspense of the narrative, Webb creates a tense and disquieting soundscape utilizing tremolo violins, shifting portentous woodwinds and harp misterioso. The phrasing is often ominous, and full of lurking terror that he sustains and heightens throughout the film by never allowing it to resolve. Lastly, there is no commercial release of the film score, a shared fate for Webb’s canon as a catastrophic house fire in 1961 destroyed his musical library of manuscripts and 266 films scores. As such I will review the score as heard during the film using film scene descriptors and time indices. This proved challenging as the archival sound was at times difficult to clearly discern.

“Main Title” opens boldly with discordant trumpets dramatico to support the display of the RKO Studios company logo, and roll of the opening credits. We immediately flow into a sumptuous rendering of the Love Theme, which emotes with classic 1940s Hollywood sensibilities. At 1:20 the melodic flow yields to a rise in tension as we read “Miami Florida, 4-24-1946”. Dark foreboding strings support a camera pan of reporters waiting outside U.S. District Court, Southern District of Florida, the music rising as the sign is displayed. As we enter the courtroom music ceases as the judge renders judgement on John Huberman who rages against America, sentencing him to 20 years in a penitentiary. Huberman’s daughter avoids answering questions as she departs, and FBI agents begin surveillance of her. At 3:04 we segue into “Party” where we see Alicia entertaining guests supported by a parade of 1940’s dance-like source music. Alicia breaks up the party as she and many guests are sailing tomorrow to Havana. The camera has focused on a man sitting with his back to the audience and at 4:44 we segue into “Alicia and Devlin” carried by the Love Theme, which flows like a valzer gentile as we circle and see the man is agent T. R. Devlin. We immediately discern that she is smitten as they smile and banter. She is inebriated and keeps leaning forward offering a kiss, but he does not respond to the overture. She feels warm, he agrees to join her outside, and they depart on a drive along the coast.

“Devlin Revealed” is unscored. Alicia is weaving, and is pulled over by a policeman, but after Devlin shows him his ID, the offer salutes him and departs. She is furious that he is an agent and they fight, with him finally knocking her out. In the morning she wakes up in her bedroom with a hangover tonic next to her with Devlin coaching her to drink it. “Recruitment” reveals Devlin filling her in on a mission to Brazil to flush out some Nazi’s for which they would appreciate her assistance as “the daughter of a convicted traitor”. He appeals to her patriotism, which she brushes off only to be floored when he admits they have surveilled her for months. He plays a record, where she fervently declares her hatred of the Nazi’s and love for America, adding she would rather see you all hang before she betrays her country. At 14:59 we segue into “Rejection” atop an aggrieved Love Theme, which sours as she rejects his offer. They are interrupted by the arrival of her friend who reminds her that they depart soon. She asks Devlin to tell them that she is not going, and he departs carried by a new found warmth of the Love Theme.

At 16:32 we surge on strings and horns dramatico into “Rio de Janeiro” as we see a plane approaching the famous sky line of Rio de Janeiro Brazil. As the strings subside, we enter the plane’s cabin where woodwinds of suspense sow an ambiance of unease. Devlin reveals to her the mission chief onboard and then drops the bombshell that her father committed suicide by ingesting a poison capsule. She feels no remorse, but chooses to recall the good times. At 18:30 they begin their descent into Rio supported by festive Brazilian rhythms, which carry them to the busy and vibrant Copacabana. Festive Samba dance rhythms alight with Brazilian trumpets create the local ambiance as they sit with drinks at a sidewalk café table. They banter and we see in his eyes a growing romantic attraction for her feisty independence and confidence. She teases him to relax, unwind, turn off his police mental gears, and hold her hand. We close with her lowering her guard and asking him why he won’t trust her? At 21:14 we segue into “The Kiss” atop a soaring windswept Love Theme as he takes her to the heights overlooking Rio where she presses him for his feelings for her. He silences her by embracing and kissing her.

A change of scene takes us to the U.S. Espionage office where the team discusses strategies to infiltrate the Nazi ring. At 22:44 we segue into “Back to the Hotel” atop urgent strings and Brazilian trumpets as we see Devlin driving alongside Rio’s famous beaches back to the hotel. They walk out to their room’s balcony that has a view to die for, embrace and kiss, with her feelings more passionate and his controlled. He accepts her offer to eat in as he goes to check for messages. As they walk arm in arm, she states that this is a strange love affair, in that you do not love me. He responds that when he does not love her, he will let her know as they kiss. He tells her that his boss Prescott wants to see him at once. He agrees to return at 7 pm with bottle of wine, departing with a kiss. In “The Plan Revealed” Devlin is agitated and resistant when Prescott and the team reveal the infiltration plan is to use Alicia as a sexual slave to seduce Alex, who was once in love with her. For Devlin, job duty and heart are clearly conflicted and his efforts to dissuade them fails. With great reluctance he agrees to set-up a rendezvous with Alex at the Riding Club. He departs forgetting the bottle of wine, which Prescott looks at, his mental gears churning and suggesting to us he perceives a possible romance impediment for Devlin.

“The Mission Explained” is unscored and reveals Devlin returning home with Alicia who is effusive with her affection. He by contrast is cool and aloof, which she detects and begins probing for answers. She jokes that she’ll make it easy for him by saying you are married with a wonderful wife and two kids and this madness cannot continue. He deeply wounds her when he responds; “I bet you’ve heard that line often enough”. With cold clinical detachment he breaks the news of using her to get to Alex, infiltrate the group and report back to us. She tries and tries to get him to open up with his feelings regarding whether he loves her, and if she should accept the mission, yet he keeps responding with cool detachment that it is her choice. Broken-hearted and feeling abandoned romantically, she agrees to the mission. I felt this scene fell flat and would have been more persuasive and poignant if music accompiament supported the powerful overt and unspoken emotions. “The Riding Club” is unscored and reveals Alicia and Devlin’s uncomfortable ride together to meet Alex the next day. He gives her his cover and counsels her to be sparse with details of her flight here to Rio. At the riding club she meets Alex who comes to her aid after Devlin causes her horse to bolt. At 35:02 we segue into “Reacquaintance” a score highlight atop soft, elegant strings as Alex joins Alicia for a drink, kissing her hand in fine old European fashion. Webb supports their conversation with a danza gentile, which flows soft and carefree. She deftly gains his sympathy and affection, as we see he is clearly enamored. She deflects inquiries regarding Devlin, secures a dinner invitation at his house tomorrow night, and agrees to dine with him tonight.

In “Dinner Party” Alicia comes out of her bedroom dressed in an elegant white evening gown, much to Prescott satisfaction. Prescott coaches her as Devlin moves off, seemingly uninterested. She arrives at Alex’s mansion and Webb interpolates Carnaval, Opus 9, by Robert Schumann as she enters and is greeted by Alex’s mother. The mother is probing and suspicious but Alex arrives and escorts Alicia in to meet his guests. They are all greet her formally in old European fashion with a bow and kiss of her hand. At dinner she observes Emil complaining to Alex of French wine being served. It is not his first lapse of judgment and the group decides later while secluded to murder him. Eric agrees to do the deed and when Emil departs early, he accompanies him seizing the opportunity to murder him. The next day in “Race Track”, which is unscored, Alicia accompanies Alex and his mother to the race track, and with the pretense of a restroom break secretly meets with Devlin who debriefs her. Afterwards she tweaks his nose saying she slept with Alex, which clearly causes agitation and tension. They quarrel with bitterness and acrimony, each blaming the other. Unbeknownst to them Alex has been watching. He joins them with Devlin making a quick exit, however he is now clearly suspicious of her feeling for Devlin and her denials do not seem convincing. The scene ends with Alex asking her for proof to convince him that Devlin means nothing to her.

“Marriage Proposal” is unscored. In a meeting of the team Prescott confirms that Dr. Anderson is in reality, Dr. Wilhelm Otto Rensler, a leading Nazi scientist who is working covertly at Alex’s mansion. Devlin counters aspersions made against Alicia’s character and gets reproached, forcing a mea culpa. Then Alicia unsettles the team with a surprise visit where she asks for advice – whether to accept Alex’s proposal to marry at once. Devlin needles her as to what she did to secure this, and if Alex believes she loves him. She answers yes and the team recommends proceeding. “Mother’s Suspicions” is unscored and reveals Alex’s mother continuing to be suspicious of Alicia. Later Alicia arrives at the mansion at 55:36 we segue into “Return From Honeymoon” where Alex and Alicia return home from the honeymoon. As they walk upstairs together a pleasant string line carries them. The music blossom with gentility the next day as we see Alicia’s belongings being unpacked. Yet at 55:56 the music sours as she complains her closet is too small. It gains vitality as she walks to an adjoining room, but ends darkly when she finds a storage room also locked, as Joseph explains that only Alex has the key. “The Meeting” reveals Alex and the others meeting in his study, where Dr. Anderson declares that he is finished. Alicia interrupts and asks for the missing key and Alex apologizes and takes her upstairs to get it. Music enters at 57:55 as a tense string tremolo and shifting woodwinds tristi after Alex has an argument with his mother and brings the key to Alicia. The music lightens as he delivers them, and the rising and falling contour of the string borne Mystery Motif supports a montage of Alicia opening several closets. Only one door remains locked as she lacks its key, which Joseph says resides with the mother. Foreboding strings support a parting shot of the lock, which displays “UNICA”.

“Rendezvous” reveals Alicia and Devlin meeting secretly in a park where he debriefs her. He advises her to get the key to the wine cellar and find the bottle of wine, with her replying that she is no master mind. He asks her to have a party at the mansion to introduce Alex’s new wife to society, which will allow him an opportunity to check out the wine cellar. She relates that her job being married is difficult, yet he is unsympathetic and exhorts her to get Alex to throw the party. At 1:00:20 we segue into “The Theft” atop foreboding woodwinds and a violin tremolo, which support an exterior shot of the mansion at night. A discordant Love Theme joins as we see Alicia dressing for the party. At 1:00:44 Webb sow suspense as Alicia sees Alex’s key ring on his desk. She approaches stealthily while he changes in the closet. The Mystery Motif joins at 1:00:51 as she reaches the key ring, but tension rises when Alex brings up Devlin joining them tonight. She takes the “UNICA” key off the ring and walks away. Alex exits the closet and walks to her with his hands open and extended, saying a man his age is always jealous of any man that looks at his wife. He grasps her clutched hands, which hold the key. The Love Theme blossoms as he opens her right hand and kisses it, with tension rising as he prepares to open her left hand. She quickly embraces him shifts the key behind his back, drops it to the carpet and then steps on preventing his discovery of its theft.

At 1:01:47 we segue into “Party” as Alicia descends the grand staircase to join the guests supported by a valzer gentile. The music belies her tension as she holds the key in her hand and waits for Devlin. When he arrives, she greets him, hands off the key as Alex joins with palpable tension unspoken beneath the waltz. As the waltz sustains the ambiance, tension rises as we see that the champagne may soon be exhausted, which would necessitate the staff getting the key, which is now missing, from Alex’s key ring. Alicia agrees to show Devlin the wine cellar door as time is now working against them. Alicia excuses herself and shows Devlin the wine cellar door. He enters and begins exploring while she keeps watch, supported by the valzer gentile, which plays against the suspense. He accidentally breaks a bottle, which ends up containing some type of metal ore. He cleans it up and they place another bottle in its place. We segue into “Caught” as they exit Alex comes down the stairs, sees them and Devlin in clear sight grabs Alicia and kisses her passionately. As Alex arrives, she pushes him away and tells Devlin to leave, telling Alex that Devlin forced the kiss. Devlin admits to Alex of loving her, but was not as lucky as him, asserting it is you that she loves. Devlin departs the mansion with the evidence and the valzer gentile resumes as a now mistrustful Alex tells Alicia to rejoin her guests.

In “Missing Key” Alex asks Joseph to accompany him to the wine cellar to obtain more champagne. He discovers his key is missing and we see grave suspicion in his eyes. He tells Joseph to forget getting more, departs, and instructs him to shift to wine and liquor. At 1:13:02 we segue into “Suspicion” as Alicia again apologizes to Alex who forgives her. She retires for the evening and as she ascends the stairs a string ascent of tension supports as he stares with menace. Later, the tension strings support his return to the bedroom and usher in a misterioso as he looks at his key ring and sets it down on his desk while Alicia sleeps. At 1:13:34 we segue into “Morning Discovery”, which offers a disturbing passage of tension and suspense. The grandfather clock strikes 6 am joined by ominous shifting string chords as Alex gets up. Disquieting woodwind figures join as he goes to his desk and finds the missing cellar key returned to his key ring. Foreboding strings and woodwinds sow disquiet as he enters the wine cellar and initially discovers nothing amiss. A misterioso rises as he discovers wine residue in the sink. At 1:15:00 a crescendo dramatico commences as he returns to the crucial wine rack and discovers the wine bottle dates on the 1934 row contains a bottle dated 1940. He examines the bottle and the crescendo crests powerfully when he finds the cork removed with only a loose tin sheath covering. Dire horns join when he bends down and finds glass bottle fragments bearing the date 1934 and residue metallic grains under the rack. Strings of retribution sow an angry tension as Alex makes his way back to the bedroom, cresting at 1:16:20 at the top of the stairs, yet dissipating as he ponders the ramifications of the theft.

At 1:16:24 we segue into “Mother” where we find Alex sitting in his mother’s room and awakening her. An eerie violin tremolo buttressed by foreboding woodwinds weave a haunting soundscape as he recruits his mother’s assistance, confessing that he is married to an American agent. She states she always suspected her and a flute sinistre with harp adornment emotes the malignant workings of her mind as she lights a cigarette and ponders a plan. An interlude of restful strings supports a shot of Alicia sleeping. We return to the mother’s bedroom where we see Alex fear struck, declaring that when the others discover this, he will be killed. An aggrieved Love Theme full of betrayal unfolds, descending into grief as he chides himself for being duped. His mother is calm, cold, and calculating saying she will take care of Alicia, killing her slowly, her way so as to not arouse suspicions. Webb supports her diabolical plan by weaving a tapestry of subtle malevolence, and a lurking menace, which portends doom. “Life Goes On” reveals Alex, Alicia and his mother taking coffee as usual on the patio, with him lovingly encouraging her to drink her coffee. We segue into “Meeting With Prescott” where Alicia updates him on the latest information she has acquired. She is distressed with a headache and asks that he pull the blinds as the light hurts her eyes. He then informs her that the sample Devlin brought back was Uranium ore and that they have committed resources to determine its source. He then informs her that Devlin, at his request will soon be reassigned to Spain, and we discern bitterness in her response.

In “Becoming Ill” Alicia joins Alex in the garden after coffee, but stops in the sunlight, in obvious pain due to a headache, dizziness and light sensitivity. She rejects Alex’s suggestion to go lie done and continues into the garden. Music enters at 1:22:05 as an eerie three-note phrase by portentous woodwinds with shimmering accents. At 1:22:10 we segue atop a wistful Love Theme into “Rendezvous in the Park” where a clearly fatigued Alicia meets Devlin. The Love Theme dissipates, replaced by a beleaguered meandering woodwind line with plaintive strings, which speak to her illness, but also to her disappointment in how things have turned out for the two of them. At 1:23:54 an aching and wistful reprise of the Love Theme rejoins as she returns the handkerchief, he gave her the night they met in Miami. She gets up to go home and it is clear something is wrong physically. She says goodbye, and departs carried by ominous and eerie confluence of strings and woodwinds. In “A Doctor’s Prescription” Alicia, Alex and his mother are taking coffee as they entertain Dr. Anderson. The camera follows the mother serving Alicia her cup. And the eyes of Alex and his mother both express satisfaction when she drinks it. Anderson notices that Alicia is ill and Alex suggest a cruise rather than seeing a doctor. When she asserts that she suffers from sea sickness, Anderson suggests she accompany him to the mountains.

In “Alicia is Suspicious” Anderson accidentally picks up Alicia’s coffee by mistake. Both Alex and his mother over react saying it’s Alicia cup and at 1:26:43 an ominous descent by strings and woodwinds supports Alicia’s suspicion that something is wrong with the coffee. Tension rises as she looks at both Alex and his mother. She panics, rises from her chair and is overtaken by dizzying eyesight and hearing distortion, which are supported by swirling strings joined by echoing voices as she wills herself to her bedroom. As the room wavers Webb sow orchestral distortion, which achieves a frightening confluence with the camera effects. We close on a crescendo of terror, which crests at 1:28:15 as she faints at the foot of the stairs. Alex, Anderson and the mother find her and escort her to her bedroom supported by plaintive strings and woodwinds, which join in a sinister synergy. At 1:28:40 a crescendo of fear swells as we see Alicia’s terror, crying out “No, go away!” The storm dissipates at 1:28:54 on strings bearing pain as they lay her on her bed. We end on disturbing ominous horns as Alex informs Anderson, that they will get a personal doctor to see her. Alex then orders Joseph to disconnect the telephone and remove it from the room so that Alicia will not be disturbed. The scene closes with terror in Alicia’s eyes. “Missed Rendezvous” reveals Devlin concerned that Alicia has not shown up to her scheduled meeting in the park. At 1:29:32 we segue into “Alicia’s Suffering” atop a tortured rendering of the Love Theme as we see Alicia lying in bed in fear, and suffering the agony of uranium poisoning as Alex’s mother sits at bedside sowing. At 1:19:44 we segue atop a tortured Love Theme into “Devlin is Concerned” as we see him pacing at the park, and later joining Prescott in his room. He expresses concern, gets permission to make a social call, but is warned not to jeopardize the case.

“Devlin Rescues Alicia” reveals his arrival at the mansion. Joseph informs him that Mr. Sebastien is in a business meeting, and that Mrs. Sebastian has been very sick for a week, and is unavailable. Joseph goes to alert Alex and we see suspicion in Devlin’s eyes. Alex is unable to leave as the group reports that they are being surveilled, and are nervous and suspicious as to why. At 1:32:40 a tortured rendering of the Love Theme swells as Devlin walks up the stairs, with a tense violin tremolo carrying him to the bedroom door. As he enters the Love Theme resumes as Alicia sees his approach, yet it ceases as they begin talking. He tells her he had to come as he could not bear worrying about her. When he asks what is wrong, she says that they have been poisoning her after Alex discovered she had taken and replaced the key. He gets her up and says they have to leave, and then confesses that he asked for transfer as he loved her and could not bear to see her and Alex together. He apologizes and she says, you do love me as the embrace and kiss. He puts on her gown, professes that he loves her, and they begin their escape at 1:37:10 with Webb sowing tension as she states that they are all in the house and we cannot make it. Alex confronts them on the stairs and the tension escalates as Devlin threatens to expose Alex to the group, which has entered the main foyer. Devlin’s leverage of exposing Alex to certain death forces his complicity as Alex and his mother informs them that they are taking Alicia to hospital. Tremolo strings of doom support their exit to the car as the three team members look on with great suspicion. We crest with strings of doom at 1:39:52 as Devlin locks him out and drives off as Alex pleads to join. At 139:58 we conclude with “Alex’s Demise” as his team mates call him to join them. Horns of doom portend his fate and tremolo strings of death carry him into the house. As the door closes, we conclude grandly on horns dramatico to end with a flourish.

A catastrophic house fire in 1961 destroyed Roy Webb’s musical library of manuscripts and 266 scores, including this one. Upon viewing the film, Webb quickly realized that it was at its core, a story of Devlin and Alicia’s love, with the Nazi conspiracy and espionage serving as its backdrop. As such, he composed a single primary theme, which animates the film. The Love Theme is borne by sumptuous strings romantico and offers classic Golden Age sensibilities. The theme runs the full spectrum of emotions, which reflect Alicia and Devlin’s conflicts, choices and regrets. To support the suspense of the espionage narrative, Webb created a tense and disquieting soundscape utilizing tremolo violins, shifting portentous woodwinds and harp misterioso. The phrasing is often ominous, and full of lurking terror, which masterfully sustains and heightens throughout the film by never allowing it to resolve. Upon viewing the film, I believe that Hitchcock and Webb failed to score scenes, which I believe demanded music, and would have been enhanced and empowered by it. The “Mission Explained” scene comes most to mind. I believe juxtaposed themes for the villains would have offered compelling contrast in the musical narrative, which would have heightened the conflict as well as the malevolence of Alex and his mother. Never the less, the score still manages to service the film, with criticism of its spotting and minimalism accepted. Since no commercial release of the score is available, I recommend viewing the film to hear it, although the archival sound diminishes the clarity and beauty of Webb’s handiwork.

Editor’s note: the only recorded music which seems to be available of Webb’s score is a suite on the 1995 Cloud Nine Records album ‘The Film Music of Roy Webb,’ which includes music from Webb scores such as Out Of The Past, Bedlam, Crossfire, Journey Into Fear, Dick Tracy, Mighty Joe Young, Sinbad The Sailor, The Ghost Ship, They Won’t Believe Me, The Locket, Cornered, and The Curse of the Cat People, as well as Notorious.

For those of you unfamiliar with the score, I have embedded a YouTube link to a six minute suite; https://www.youtube.com/watch?v=yWEriqNgtT4

Track Listing:

NOT AVAILABLE

Unreleased (1946)