Phoenix office worker 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 forty thousand dollars 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>
Sir Alfred Hitchcock was initially disappointed with the movie. He even disliked the shower scene and believed the movie would end up on a low budget drive-in double-bill. According to Bernard Herrmann, Hitchcock thought of editing it down for broadcast on his television show. Hitchcock did not conceive of music for the shower scene, but Herrmann did it anyway. After seeing the movie with its score, including the shower sequence, that he realized that the movie would work. See more »
As the camera pans from Marion Crane's feet to the shower drain, the blood seems to be flowing in a thin stream from a wound (hidden from view) somewhere on her left shin near the ankle. However, most if not all the stab wounds she's suffered are to her chest and abdomen; the killer would have had to stoop quite low to stab her in the leg. There is, as previously noted, no trace of blood consistent with the wounds that we do see inflicted. 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 ...
[...] See more »
The version previously on home video is an edited version of the movie. It is missing a shot from the shower undressing scene, a lingering close up of bloody hands, and additional thrusts of the knife for the killing of Arbogast inside the house. The movie was edited for content in 1968 when the ratings system was first established (the movie initially went in without a rating in 1960 due to no such system existing yet) to obtain an R rating. This version for the past several decades has been the only one available on home video up until the recent 4K release from Universal which will for the first time ever include the original uncut version as seen in 1960 and the previously available edited version. See more »
Getting into Hitchcock's Psycho, 57 years after its original release is like assisting to a masterclass of sorts. We can now identify what made this little lurid tale into a classic. Hitchcock himself, naturally, but now we know the first director's cut was a major disappointment and that Alma Reville - Hitch's wife - took over, re edited and the results have been praised, applauded and studied ever since. Janet Leigh's Marion Crane created a movie landmark with her shower scene. Bernard Herrmann and his strings created an extra character that we recognize as soon as it reappears under any disguise but, what shook me the most now in 2017 is Anthony Perkins as Norman Bates. His performance has evolved with the passing of time and its effect has remain as chilling, as moving, as funny and as real as it was in 1960. It's interesting to watch Gus Van Sant's 1998 version with Vince Vaugh as Norman Bates. If you look at the film, shot by shot with Berrnard Herrmann's strings - it's pretty fantastic. - Play it in black and white if you can. The problem and it is a monumental problem, we wait for Janet Leigh and Anthony Perkins, if the casting of Anne Heche was really bad - not a hint of Janet Leigh's humanity, the casting of Vince Vaughn was incomprehensible. Not just not credible for a moment but annoying, very annoying. Anthony Perkins brought something profoundly personal to Norman Bates and as a consequence we connected with his sickness. We felt for him. Okay, sorry, I didn't mean to go there but I felt compelled to because I saw again Psycho (1960) ad Psycho (1998) at 24 hours from each other and realized that the main flaw of the 1998 versions is the absence of Anthony Perkins.
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