A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
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>
Because he was working with a low budget, Alfred Hitchcock did not want to use top marquee names with the exception of Janet Leigh. But he hired her because he knew audiences would be shocked to see a star of her stature killed off early in the movie. (There is a slight giveaway in the credits, however, where instead of first billing, her name appears last as "And Janet Leigh as Marion Crane.") She was paid $25,000 for the role. See more »
At the beginning, in the establishing shot of the hotel window, the angle of the shadow on the window ledge changes between shots. See more »
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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