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 <firstname.lastname@example.org>
There are several references to birds in this film : Marion's surname is Crane, Norman's hobby is stuffing birds and he states that Marion eats like a bird. Coincidentally Alfred Hitchcock's next film was The Birds (1963) See more »
When Sam and Lila first arrive at the motel, there is a shadow of a nearby tree on the side of the motel office. When Norman runs down from the house a few seconds later, the shadow is gone. See more »
No! I tell you no! I won't have you bringing some young girl in for supper! By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds!
And then what? After supper? Music? Whispers?
Mother, she's just a stranger. She's hungry, and it's raining out!
"Mother, she's just a stranger"! As if men don't desire strangers! As if... ohh, I refuse to speak of disgusting things, because they ...
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Most modern-day horror films make the killer to be an absolutely inhuman, grotesque, unimaginable monster in order to scare the audience out of its wits. Most of the time, however, these stereotypes create a generic murderer a raving, ranting, clearly demented psychopath. One of the few memorable cinematic killers that does not adhere to these restraints and cliches is, of course, Anthony Hopkins' Hannibal Lecter, whom manages to effectively cause the audience to recoil without such drek as the aforementioned devices.
Anthony Perkins' skillfully crafts his performance as Norman Bates, avoiding a ranting, raving, drooling, murder-happy, manic characterization; instead his performance as Norman is subtle, creepy, cool, and unsettling. He is brilliant; from his quiet conversations with Marion Crane amidst the stuffed birds, to his weasling wimpiness when confronted by Arbogast, his performance is so exact that it chills the viewer, all without the unnecessary disturbing images prevalent in more modern films (read The Cell, Henry: Portrait of A Serial Killer).
Perkin's fine performance, a tight script, and Bernstein's classic score make Psycho a film that is now and will always be remembered as one of the pinnacles of the horror genre.
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