![]() But with that soundtrack, he won the Academy Award. ![]() For Rósza it wasn’t a pleasant experience, and he never collaborated with Hitchcock or Selznick again. Yet neither Hitchcock nor producer David Selznick appreciated his work, even complaining about the excessive autonomy of the music from the film and trying more than once to impose their indications. Rósza produced a brave and suggestive soundtrack, adding the experimental touch with the use of the theremin and contributing to that unstable, psychic mood that made the movie so fascinating. ![]() Yet it wasn’t Hitchcock’s first choice for Spellbound: he opted for Rósza only because his historical collaborator Bernard Herrmann didn’t have time. Between the 40s and the 50s he wrote the music for some of the most important dramas and noir movies of that time ( Ben-Hur, Double Indemnity, A Double Life, The Thief of Baghdad). One who already had his fair success with his classical music concerts around Europe (they said that Richard Strauss appreciated him a lot), but at one point in his life he decided to devote himself to Hollywood soundtracks. On the one hand Miklós Rósza, a real classical composer, born in Hungary, formed in Germany and stable in the United States for over 50 years.
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