I find it difficult not to give the number one spot over to that classic slasher film that birthed the infamous killer known as Michael Myers, and tonight is no exception. The rightly-celebrated Halloween theme is as iconic as Bernard Hermann’s Psycho or John Williams’s Jaws. If Alfred Hitchcock can credit Hermann for 33% of the frightening effect of Psycho, Carpenter can credit himself for saving his movie with a terrifying score. Even divorced from the film, those quick, high piano notes overlayed with long, low tones (and that ever present staccato chirp underscoring the whole thing), instill a feeling of dread and foreboding.
Rear Window may not have the slasher pedigree of Psycho, but it does boast some of the finest tension and suspense of director Alfred Hitchcock’s extensive career. Utilizing a single set and no musical score, Hitchcock delivers a higher degree of believability than most films attain on location with hand-held cinematography.
Oh, sweet movie title, what a charming little double entendre are you. Robert Zemeckis nakedly apes Alfred Hitchcock in this mystery/ghost story… and the result is one of the best films of the former director’s career. Most of the credit must go to Hitchcock himself for establishing the style of slow-building tension that rightly earned him the title Master of Suspense.