Close enough for government work, HomeBrewer: "Funeral March of a Marionette" by Gounod.
I was always a Hitchcock fan as a kid. The first "serious" movie that caught my attention -- the one that drew me in to the movies -- was "Rear Window." I was very surprised to learn (as an adult) that either Siskel or Ebert also cited this movie as filling the same role in his life!
I also am a huge fan of the wide variety of movies made by David O. Selznick at the Selznick Studios before it folded in 1947. Selznick brought Hitchcock to the U.S. -- the last movie made by the original Selznick Studios before it was broken up for tax reasons was 1940's Best Picture Oscar-winning "Rebecca" (Hitchcock's first US movie), giving Selznick back-to-back Best Picture Oscars. Hitchcock continued under contract to Selznick until a huge stinker of a film called "The Paradine Case" (which Selznick wrote himself). One interesting thing was that the Selznick Studios were originally set up to make 50% Technicolor movies, but ALL of Hitchcock's movies for Selznick were in B&W ("Notorious," "Shadow of a Doubt," "Spellbound," "Foreign Correspondent," "Suspicion," etc.).
Of course, Hitchcock had already made one truly great movie back in the UK: "The 39 Steps." And he made many more great movies after splitting with Selznick (including "Strangers on a Train," "I Confess," "Rear Window," "To Catch a Thief," "Vertigo," "North by Northwest," "The Wrong Man," "The Man Who Knew Too Much" remake, etc.). But the Selznick movies are still special.
Gee, is it obvious that I love Hitchcock too? Oh, and shakes ... I'm not apologizing for hijacking this thread. That's what happens on O/T!