Introduction: Hitchcock vs. the James Bond Phenomenon

 

Michael Armstrong vs. James Bond

 

That Arresting Rhythm:

 

Conclusion

 Some Notes on The Music

When the music of the films is considered, however, Hitchcock’s efforts to distance himself from Bond become moot. Both productions stressed the importance of music to the success of the films from the start.

The 1960s was a decade of pop scores and Universal wanted Hitchcock to conform, requesting soundtracks with the success of A Hard Day's Night rather than the commercial failure of the Bernard Herrmann-scored Marnie 34. Through the use of a pop score, whether purely out of studio pressure or of his own egotistic volition, Hitchcock was adopting one of the most Bondian elements to his film that he possibly could 35. Beginning with Dr. No (1962), producers Harry Saltzman and Albert R. Broccoli worked the production and promotion of the film music into the promotion of the film itself, partially because of restricted promotional rights dictated by Ian Fleming and partially because of the unknown status of their leading actor, Sean Connery. By writing a pop song for every film to be marketed both with and separately from the films, and by creating a distinctive theme repeated in every film, composer John Barry ensured that the musical formula of Bond served as a product trademark 36.

Composer John Barry

Just as the Bond films follow a set formula, the music in each Bond film follows a similar predictable and repeated pattern, established in From Russia with Love but perfected with the third Bond film Goldfinger. In order to remain dependable but not banal, the set formula varies from film to film, with different arrangements of the theme to match contemporary musical styles and a new title song for each film 37. Within each film, however, are the same four basic musical elements:

  • the James Bond theme, found in the opening credits (and often with the four-note Bond Motif)
  • the 007 theme, “a driving syncopated march” used usually in large scale battles
  • the title song which functions as either a love motif or an action motif
  • the villian’s motif 38

The sheer repetition of the formula causes the elements of the films (especially the Bond Theme but also the independently marketed title song) to become completely lodged into the spectator’s mind so that the audience leaves associating the film and its characters with the music; this was the primary objective in scoring the films and ultimately produced chart-topping records and singles 39.


"From Russia With Love" by John Barry and Lionel Bart, performed by Matt Munro