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A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.

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Top Rated Movies #34 | Nominated for 4 Oscars. Another 5 wins & 9 nominations. See more awards »

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Cast

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Caroline (as Pat Hitchcock)
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Storyline

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 <col@imdb.com>

Plot Summary | Plot Synopsis

Plot Keywords:

motel | money | shower | theft | rain | See All (235) »

Taglines:

The picture you MUST see from the beginning... Or not at all!... For no one will be seated after the start of... Alfred Hitchcock's greatest shocker Psycho. See more »


Certificate:

R | See all certifications »

Parents Guide:

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Details

Country:

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Release Date:

8 September 1960 (USA)  »

Also Known As:

Alfred Hitchcock's Psycho  »

Box Office

Budget:

$806,947 (estimated)

Gross:

$32,000,000 (USA)
 »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (cut)

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Bernard Herrmann related how the shots of Marion driving away after taking the money looked very ordinary. Alfred Hitchcock thought of having the soundtrack convey anxious voices in her head to add to the action and tension. Herrmann noted, however, that it still didn't work until he suggested bringing back the main title music. All in all, Hitchcock was delighted with Herrmann's very significant contribution to the film, giving the composer an unusual amount of credit (for Hitchcock) and stating openly that "33 percent of the effect of Psycho was due to the music." See more »

Goofs

When Marion pulls into the motel during the rain and sees the office, she drives over to it and stops. In the next shot two lights on a stand can be seen to the immediate left of the office, left by the crew. See more »

Quotes

Norma Bates: [voice-over] 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!
Norman Bates: [voice-over] Mother, please...!
Norma Bates: [voice-over] And then what? After supper? Music? Whispers?
Norman Bates: [voice-over] Mother, she's just a stranger. She's hungry, and it's raining out!
Norma Bates: [voice-over] "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 ...
[...]
See more »

Crazy Credits

Opening credits prologue: PHOENIX, ARIZONA

FRIDAY, DECEMBER THE ELEVENTH

TWO FORTY-THREE P.M. See more »

Connections

Referenced in Chiller (1985) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Hitchcock and Herrmann
23 November 2007 | by (New Zealand) – See all my reviews

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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