.....(Now I'm going to beat my head against a wall for such forgetfulness to justify such forgetfulness and to exacerbate such forgetfulness!!).....
Please don't do that, Ms. Joan.....we need all the solid, intact heads around here we can muster!
For myself, as I get older, I'm finding I should expend more energy on remembering doctors' appointments than what scores Franz Waxman wrote nearly 60 years ago!
.....Waxman was just plain talented. This was a Hitchcock movie, and I'm not sure if he ever used Waxman again. Maybe manderly will chime in here.....
Well, of course there was a final, little-known, film collaboration between Mr. Hitchcock and Mr. Waxman that didn't cause much public interest---what was it now?---REAR WINDOW, or something like that! (Which, by the way, could also use a CD release although it's a slim score with a lot of source material and might have to be paired with something else.)
Incidentally, I'd guess Waxman's participation in REBECCA and THE PARADINE CASE were more attributable to David O. Selznick's production overseeing than Hitchcock's choices.
Have you noticed that some of the REAR WINDOW source music is from ELEPHANT WALK? During one scene the main theme from EW has been given lyrics and is sung by a woman.
I am not positive about this but REAR WINDOW may now be under the control of Universal. This Hitchcock masterpiece was originally released by Paramount.
I went back and looked for a 12 year old thread I posted here about Waxman...
...When I just reread it, I noted that no one mentioned Come Back Little Sheba.
The first mention is within Mr. Hobgood's legendary "Leitmotif" thread from December Y2K. I should know but this board has more important things to do than sit here listening to me quote myself. However, references to the harrowing scene when Lola somewhat staggers up the steps, enters the house and calls home go back even further.
And further. I was a teen and can clearly recall turning on the 4:30 Movie on WABC-TV when Doc goes on the attack. Shirley Booth for an entire generation of TV watching youngsters was Hazel and forever Hazel. But then I was torn to pieces in this my first exposure to Sheba and Ms. Booth the great actress.
She gave a tear-your-guts-out heartbreaking performance direct from stage to screen. And Mr. Lancaster’s was no slouch either. Tremendous hurt in both characters translated in different ways.
Waxman’s main theme that accompanies the opening credits heralds the important picture to come. Its arrangement with violin solo underneath the phone call is a killer, an indelible marriage of film and music, tender and searing.
For Rebecca, Maestro W’s stunning title theme gave way to a recurring “eerie” arrangement in an aural manifestation of unseen presence. He employs a similar technique with CBLS’s title character. It’s a simple theme: four syllables, four little notes; nonetheless, its presence is significant and endearing.
For some reason I had never seen "Come Back Little Sheba" until I bought the DVD a few weeks ago. I was absolutely knocked out by it! What a great film. Sadly the sort of emotional film which wouldn't be made today. Shirley Booth and Burt Lancaster were brilliant. Franz Waxman is a bit hit and miss with me but I very much liked his score for this film.
Hey Doug I too had bought the DVD just a few weeks ago and re-watched this past weekend. 'S weird, you start off by catching climactic scenes as a teen, finally see the whole thing on cable decades later, then end up buying it a couple more decades later. But this viewing is the first time I caught something for the first time--she was only "Mrs. Delaney" or "Baby" or "Honey (?)" until she shrieks, It's Lola!--which seizes Doc and then he passes out. What a dynamite moment. The "pretty Lola" moments later, in this regard, are just plain crushing.
Still trying to define the main theme. Seemed to underscore (1) thoughts of love and tenderness of the past, (2) love suppressed or even (3) discontentment and resentment in the present. And all depending upon its arrangement, as in "triumphant" at film's conclusion. Pretty neat.
However, references to the harrowing scene when Lola somewhat staggers up the steps, enters the house and calls home go back even further. 
