0:00 Prelude
1:10 Finale
1:42 The Reversed Track
2:36 The Reversed Track Reversed
3:16 The Reversed Track (Reprise)


In 1947, Miklós Rózsa composed the score for Fritz Lang’s “Secret Beyond The Door…” (aka “Secret Beyond The Door”).

Rózsa was very fond of Lang. They became friends, and the composer continued to cherish the fruitful collaboration with Lang for the rest of his life.

Rózsa and Lang worked closely together on the score for “Secret Beyond The Door.” The composer suggested to Lang that he should hear the music before it would be recorded. The director agreed on one condition:

Lang didn’t just wish to hear the music, but also watch the film while listening to Rózsa’s piano playing. This would give him a better idea of how a specific cue fits in with his picture.

In a small projection room at Universal Studios the composer performed his music to the director while the film was being screened. Afterwards the two men discussed any further proceedings—especially if some changes to the score were deemed necessary.

For one important scene, Lang wanted a special kind of music that would express the psychological side of the story, but also strengthen the imagery.

As Rózsa refused to use the Theremin again, the composer instead sought out a completely different solution. So, he came up with the idea of using music that would be played backwards. This actually produced the results Fritz Lang ultimately had hoped for. Many years later, Rózsa wrote about it in his memoirs:

“For another [sequence], when Michael Redgrave opens the doors behind which lie his secrets, Lang wanted an unusual sound and, since I refused to use the theremin again, we experimented with having the orchestra play their music backwards, recording it back to front on the tape, and then playing it back as usual; the end result sounded right way around but had an unearthly quality.”

From: Miklós Rózsa (1989), Double Life, [2nd Ed.], New York, p. 151.

In this video, you will now hear that specific cue as it was used within the film.—Some sound effects are also audible. Afterwards, you can listen to the music in ‘reverse’. That’s how the composer originally recorded it in the studio. Naturally, the same sound effects—which were added later during the post-production process—are now in reverse.


ABOUT THE FILM

“Secret Beyond The Door” is a 1947 US-American film based on a novel by Rufus King (1893-1966). King’s novel was initially titled “Museum Piece Nr. 13”, then, retitled to “Secret Beyond The Door” when the film was about to be released.

Fritz Lang (1890-1976) produced and directed the psychological thriller. So, as a producer he was far more involved in the project as in many of his other Hollywood films. In this case, it also includes the scoring process. Usually, Lang would move on to another film as soon as he has finished his directing job. By the way, Lang expressed his dissatisfaction with many scores of his films where he didn’t have any say in it.

Silvia Richards (born Silvia Hope Goodenough) (1915-1999) adapted King’s novel and wrote the screenplay. Joan Bennett (1910-1990) and her husband Walter Wanger (1894-1968) co-produced with Wanger being credited as the presenter. Bennett, of course, got the leading part. To her side, was British actor Michael Redgrave (1908-1985). He gave his Hollywood debut in “Secret Beyond The Door”. Anne Revere (1903-1990) can be seen a supporting role.

However, the film is not considered as a great one. Even though, Lang was very ambitious and tried hard to make the best out of a problematic screenplay. At the time, it was also reported that he and Bennett clashed over many things during the whole production. Differing views how the film should be shot even came from cinematographer Stanley Cortez (1908-1997). So, it wasn’t an easy job—Lang had to battle on different fronts.

The director had at least a much more satisfying experience with composer Miklós Rózsa. As a matter of fact, Rózsa wrote an excellent score for this thriller. The work seems to be overlooked by film music fans. Sadly, none of Rózsa’s score from “Secret Beyond The Door” has ever been officially released or newly recorded. Not a piece. It’s an ignored master piece, but I’m sure some day this lack of attention will be corrected.

Researched Source: Rózsa, Miklós (1989); Double Life; 2nd Ed.; Wynwood Press, New York, N. Y.; p. 150-151.

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