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A young female embezzeler arrives at the Bates Motel which has terrible secrets of its own.

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(novel), (screenplay)
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3,823 ( 135)
3 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Dr. Simon
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Mrs. Chambers
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Mr. Lowery
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Patrolman
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Car Dealer (as James LeGros)
Steven Clark Pachosa ...
Police Guard
O.B. Babbs ...
Mechanic
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Storyline

Marion Crane steals a lot of cash from a man whom her boss is in business with. On the way to see her boyfriend, she stops off by an old motel, run by the odd Norman Bates. She is murdered in the shower. Her sister, boyfriend, and a private investigator try to find out where she is, while we learn more about Norman Bates. Written by Jordan Sharp <rainman88@earthlink.net>

Plot Summary | Plot Synopsis

Taglines:

They'll see, they'll know and they'll say."Why she wouldn't even harm a fly." See more »


Motion Picture Rating (MPAA)

Rated R for violence and sexuality/nudity | See all certifications »

Parents Guide:

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Details

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Release Date:

4 December 1998 (USA)  »

Also Known As:

Psicosis  »

Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend:

$10,031,850 (USA) (4 December 1998)

Gross:

£1,447,991 (UK) (22 January 1999)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Julianne Moore had been considered for the role of Marion Crane before being cast as Lila. See more »

Goofs

Arbogast's line stating he will return in an hour or less was shortened, removing the "or less" piece, yet Lila still quotes him as saying "an hour or less" after the phone call. See more »

Quotes

[first lines]
Samuel '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 excess acid.
Samuel '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?
See more »

Crazy Credits

Some of the opening credits split apart, just as the original's did. They segue into the opening shot of Phoenix, Arizona. See more »

Connections

Referenced in The Backlot Murders (2002) See more »

Soundtracks

Indian Love Call
Written by Oscar Hammerstein II, Rudolf Friml and Otto A. Harbach
Performed by Slim Whitman
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User Reviews

 
Shot For Shot....... Except
23 June 2006 | by (Toronto) – See all my reviews

Hitchcock's original classic benefited tremendously not only from the performance of, but also the 'look' of Anthony Perkins. He projected a kind of clean-cut innocence: a young teen-idol type of persona. He was not an actor who had portrayed baddies before this; nor was he physically suited to the role of what the public might have imagined a psychopath to look like, especially in the 50's when this ultra-chilling aspect of mental illness (split personality psychosis) was relatively unexplored in film. Which is exactly why the casting of him as Norman Bates was a slice of true Hitchcockian genius. Audiences were taken by surprise to put it mildly.

That's why this re-make does not work, even a little bit, in spite of trying to be an exact copy. Whereas Anthony Perkins looked like someone you would never think of as being a serial killer, Vince Vaughn is easily imaginable as one. He lacks the frail look of Perkins and his acting chops are clearly inferior as well, at least in this role (honestly - has there ever been an actor who could convey nervousness as genuinely as Anthony Perkins?). While it was a pointless re-make to begin with, the miscasting of the story's most important character sucks this film down completely.

As a side note, I feel that Hollywood's propensity for re-making great movies because 'young' people refuse to watch anything that's not filmed in color not only stinks to high heaven of corporate greed but is exceptionally disrespectful to the original work. As for viewers who can't watch black and white - it's their loss. Hopefully they'll mature sometime in the future and no longer require shiny colours to hold their attention. When they do they'll discover that sometimes black and white works far better. With the background muted, the story and performances are that much more front and center. And in many cases the mood or atmosphere created through black and white cinematography is just not attainable in colour.


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