A young man is confined in a mental hospital. Through a flashback we see that he was traumatized as a child, when he and his family were circus performers: he saw his father cut off the ... See full summary »
Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother. Written by
Col Needham <email@example.com>
In 2006, Scottish artist Douglas Gordon created a 24-hour slow-motion version of the film titled "24-Hour Psycho" that played at the Museum of Modern Art in New York. See more »
As Marion approaches the restroom at California Charlie's used car lot, the door hinges on the left with the doorknob on the right and has dark (painted?) glass in the upper half. In the interior shot, the hinges and knob are just the opposite and the door is a solid slab. In the exterior shot as Marion exits the restroom, the door is not seen, and hinges are back on the left and latches on the right, consistent with the original view. See more »
Dr. Fred Richmond:
Like I said... the mother... Now to understand it the way I understood it, hearing it from the mother... that is, from the mother half of Norman's mind... you have to go back ten years, to the time when Norman murdered his mother and her lover. Now he was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman, and for years the two of them lived as if there was no one else in the world. Then she met a man... and it seemed to Norman that ...
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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...
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