A mentally disturbed man, who roomed with the late Norman Bates at the state lunatic asylum, inherits the legendary Bates Motel after the death of Norman and tries to fix it up to make it a respectable business.
Now declared legally sane, Norman Bates is released from a mental institution after spending 22 years in confinement over the protests of Marion Crane's sister Lila Loomis, who insists that he's still a killer and that the court's indifference to his victims by releasing him is a gross miscarriage of justice. Norman returns to his motel and the old Victorian mansion where his troubles started, and history predictably begins to repeat itself.Written by
The scene in Norman's childhood bedroom where Mary comforts him on the bed was added by screenwriter Tom Holland at the request of Anthony Perkins, who felt that his character needed a moving moment with the character of Mary Loomis. See more »
There is a small table with a telephone at the top of the stairs in the Bates house. However, as seen when the body of Mrs. Bates was being carried down the stairs, and when Detective Arbogast was murdered, these did not appear in the original 1960 film. See more »
Mother, oh God, Mother. Blood! Blood!
The basis of the staff report Norman Bates is judged returned to sanity and is ordered released at will.
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The television version includes various extra takes, including one when Norman is on the porch of the house and he says goodbye to Dr. Raymond. See more »
Norman Bates (Anthony Perkins) is released after over 20 years in an asylum, supposedly cured. He goes back to Bates Motel...but then he starts seeing his dead mother again, gets phone calls from her and the murders start up again. Is it Norman going crazy again or is someone trying to drive him to it?
A very good, intricately plotted sequel to Hitchcock's classic. This could have been a disaster, but it isn't. The plot has many twists and turns and moves quickly. Director Richard Franklin does an excellent directing job, setting up some very eerie shots and duplicating some of Hitchcock's shots from the original. Perkins is just OK (he should have toned down on the twitches) and Meg Tilly is her usual blank self but there is a strong supporting cast including Vera Miles and Robert Loggia. One minor problem--was it necessary to get so violent and bloody at the end (although it's restrained for a 1980s horror film)? Still, worth catching. Great final shot too.
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