Psycho (1960)

Director:

Alfred Hitchcock

Writers:

Joseph Stefano (screenplay)
Robert Bloch (novel)

Release Date:

25 August 1960 (Brazil)

Genre:

Horror | Thriller

Tagline:

A new- and altogether different- screen excitement!!!

Plot:

A young woman steals $40,000 from her employer's client, and subsequently encounters a young motel proprietor too long under the domination of his mother.

Plot Keywords:

Motel | Shower | Alimony | California | Phoenix Arizona

Awards:

Nominated for 4 Oscars. Another 5 wins & 3 nominations

Cast

Anthony Perkins	...	Norman Bates
Vera Miles	...	Lila Crane
John Gavin	...	Sam Loomis
Martin Balsam	...	Milton Arbogast
John McIntire	...	Deputy Sheriff Al Chambers
Simon Oakland	...	Dr. Fred Richmond
Vaughn Taylor	...	George Lowery
Frank Albertson	...	Tom Cassidy
Lurene Tuttle	...	Mrs. Chambers
Patricia Hitchcock	...	Caroline (as Pat Hitchcock)
John Anderson	...	California Charlie
Mort Mills	...	Highway Patrol Officer
Janet Leigh	...	Marion Crane

Also Known As:

Wimpy (USA) (fake working title)

Runtime:

109 min | Germany:108 min (cut)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Chile:14 (re-rating) | Chile:18 (original rating) | Germany:12 (re-rating) (2006) | Portugal:M/12 | West Germany:16 (original rating) | Netherlands:12 | Iceland:16 | Finland:K-16 (cut) (1960) | Finland:K-16 (uncut) (1969) | Finland:K-16 (cut) (1965) | South Korea:15 | Brazil:14 | Czech Republic:U | New Zealand:R16 | USA:TV-PG (TV rating) | Argentina:13 (re-rating) | Argentina:16 (original rating) | Australia:M | Canada:13+ (Quebec) | Canada:18 (Nova Scotia) | Canada:PG (Manitoba/Ontario) | France:-12 (re-release) | France:-16 | Israel:16 | Norway:15 | Norway:16 (1960) | Peru:14 | Spain:13 | Sweden:15 | Switzerland:16 (re-release) | UK:15 (video rating) (1986) | UK:X (original rating) | USA:Approved (certificate #19564) (original rating) | USA:M (re-rating) (1968) | USA:R (re-rating) (1984)

Filming Locations:

4270 Lankershim Boulevard, North Hollywood, Los Angeles, California, USA

Company:

Shamley Productions

Trivia:

In the novel, the character of "Marion" was "Mary" Crane. The name was changed because the studio legal department found that two real people named Mary Crane lived in Phoenix, Arizona.

Goofs:

Plot holes: Lila and Sam are able to sneak into Cabin 1 just by opening the door, but neither of them has a key, and it is very likely that Norman would have locked it to avoid someone discovering evidence of Marion's murder.

Quotes:

[first lines]
Sam Loomis: You never did eat your lunch, did you?
Marion Crane: I better get back to the office. These extended lunch hours give my boss a sexist asset.
Sam Loomis: Why don't you call your boss and tell him you're taking the rest of the afternoon off? Its Friday, anyway - and hot.
Marion Crane: What do I do with my free afternoon? Walk you to the airport?

Movie Connections:

Referenced in The Happening (2008)

Hitchcock and Herrmann

Robert Bloch wrote the original work, Joseph Stefano adapted it into a tight screenplay but it was Alfred Hitchcock with the extraordinary complicity of Bernard Herrmann who transformed this lurid tale into a classic, horror masterpiece. The score propels us into the moment before the moment arrives provoking the sort of anticipation that verges on the unbearable. The fact that the key scenes have become iconic film moments: copied, imitated, emulated and parodied, have not diminished its impact, not really. The anticipation, underlined by Herrmann's strings, creates a sort of craving for the moment to arrive. That doesn't happen very often. No amount of planning can produce it or re-produce it - otherwise how do you explain the Gus Van Sant version - so, the only possible explanation is an accident, a miraculous film accident and those do happen. Everything falls into place so perfectly that even the things that one may argue are below the smart standard of the film, are needed, the film without every frame is not quite the film. Try to turn away after the climax during Simon Oakland's long explanation. You can't. I couldn't. Partly because you know you'll soon be confronting those eyes, that fly, the car...