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
When Norman fires Toomey and returns to the house, the front parlor light is on in the exterior shot, but when he enters the house, he finds Mary sitting in the dark and turns the light on himself. 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 »
Spacy Meg Tilly: the perfect ally for Norman Bates!
Anthony Perkins reportedly felt threatened as an actor playing opposite Meg Tilly (portraying a slightly-dazed cupcake who befriends Norman Bates, just out of the asylum); if true, he had good reason, for Tilly is very appealing in her role and this sequel to Alfred Hitchcock's classic screamer gains a spirit of its own--away from its predecessor--every time she's on-screen. The plot is business-as-usual, with a lot of repetitive, cornball dialogue ("It's my mother!" "No, it's MY mother!"). It's great to see those famous sets again, and the filmmakers try to create a stylish, old-fashioned atmosphere at the outset, but a gory, dispiriting conclusion and a dumbbell tag at the end (designed for another sequel) weakens the whole shebang. **1/2 out of ****
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