A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
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>
Psycho is said to be heavily influenced by Henri-George Clouzot's Diabolique (1955). Diabolique was also a lurid, black and white crime story/ film noir, with sharply drawn characters, a misogynistic overtone and loads of suspense, focusing on a grisly murder scene in it's middle and a shock twist at the end. But whereas Psycho had a shocking shower murder scene, Diabolique had a socking bathtub murder scene. Psycho's shower scene is said to be a ripoff of Diabolique's bathtub scene; or certainly influenced by it. See more »
In the first shot of Lila and Sam waiting to hear back from Arbogast, Lila's right arm is turned away from from her body and resting on a desk. In the next shot, it is on the arm of her chair. See more »
Oh, we can see each other. We can even have dinner but respectably in my house with my mother's picture on the mantel and my sister helping me broil a big steak for three.
And after the steak, do we send Sister to the movies? Turn mama's picture to the wall?
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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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