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The suspicion and animosity that Marion feels while at the motel is felt by the audience. Hitchcock compels the audience to identify with the quiet and shy character whose devotion to his invalid mother has cost him his own identity.

The audience is reassured, however, when Marion, upon returning to her room, decides to return the money and face the consequences of her actions.

Upon the introduction of Norman, Hitchcock introduces the first of several character parallels within Psycho. The clash between Marion and Norman, although not apparent to the audience until the end of the film, is one of neurosis versus psychosis.

The compulsive and obsessive actions that drove Marion to steal the money is recognisable, albeit unusual behaviour, that the audience embraces as its sympathy is primarily directed towards her character.

The terror that Hitchcock conveys to the audience manifests itself once the audience learns that it empathised with a psychotic person to a greater extent than with rational one when its sympathy is shifted to Norman.

During the infamous shower scene, Hitchcock conveys a sense of cleansing for the audience. The audience, now in a vulnerable state looks to Norman to replace Marion as its main focus in its subjective role.

As the two men face each other, the audience is able to see their contrasting personalities in relation to Marion. The conflict that arises between Sam and Norman reflects the fact that Sam had what Norman wanted but was unable to attain due to his psychotic nature.

Faced with this spectacle, Hitchcock forces the audience to examine its conscious self in relation to the events that it had just subjectively played a role in.

Writers: Joseph Stefano screenplay by , Robert Bloch based on the novel by. Available on Amazon. Added to Watchlist. From metacritic. High School Icons, Then and Now.

Top Movies Bucket List. In Memoriam Stars We've Lost. My Favorite Movies. EJ classics x. Share this Rating Title: Psycho 8.

Use the HTML below. You must be a registered user to use the IMDb rating plugin. User Polls Favorito Filmo Top Rated Movies 41 Nominated for 4 Oscars.

Edit Cast Complete credited cast: Anthony Perkins Norman Bates Vera Miles Lila Crane John Gavin Sam Loomis Janet Leigh Marion Crane Martin Balsam Milton Arbogast John McIntire Sheriff Al Chambers Simon Oakland Fred Richman Frank Albertson Tom Cassidy Patricia Hitchcock Caroline as Pat Hitchcock Vaughn Taylor George Lowery Lurene Tuttle Chambers John Anderson California Charlie Mort Mills Edit Storyline Phoenix office worker Marion Crane is fed up with the way life has treated her.

Edit Did You Know? Trivia Voted the number one horror movie of all time by watchmojo. Goofs The calendar belonging to the Chief of Police reads '17' on December 20th.

Quotes Norman Bates : Dirty night. Alternate Versions Psycho was cut 1 minute and 11 seconds by Norwegian censors before its cinema release in , in the movie was released uncut for the first time after 15 years.

Was this review helpful to you? Lila hides in the cellar, where she finds Mrs. Bates in a chair. Lila turns her around and discovers she is a mummified corpse.

Lila screams as Norman runs into the cellar, holding a chef's knife and wearing his mother's clothes and a wig.

Before Norman can attack Lila, Sam — having regained consciousness — subdues him. At the courthouse, a psychiatrist explains that Norman murdered Mrs.

Bates and her lover ten years ago out of jealousy. Unable to bear the guilt, he stole her corpse and began to treat it as if she were still alive.

He recreated his mother in his own mind as an alternate personality , dressing in her clothes and talking to himself in her voice.

This "Mother" personality is as jealous and possessive as Mrs. Bates was while alive: whenever Norman feels attracted to a woman, "Mother" kills her.

As "Mother", Norman killed two missing young girls before stabbing Marion and Arbogast to death. The psychiatrist says the "Mother" personality has taken permanent hold of Norman's mind.

While Norman sits in a holding cell, "Mother's" voice-over protests that the murders were Norman's doing.

Marion's car is towed from the swamp. Psycho is based on Robert Bloch 's novel of the same name , loosely inspired by the case of convicted Wisconsin murderer and grave robber Ed Gein.

Each had deceased, domineering mothers, had sealed off a room in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly considered a serial killer, having been charged with murder only twice.

Peggy Robertson , Hitchcock's long-time assistant, read Anthony Boucher 's positive review of the novel in his "Criminals at Large" column and decided to show the book to her employer; however, studio readers at Paramount Pictures already rejected its premise for a film.

He disliked stars' salary demands and trusted only a few people to choose prospective material, including Robertson.

Paramount executives balked at Hitchcock's proposal and refused to provide his usual budget. Paramount executives rejected this cost-conscious approach, claiming their sound stages were booked, but the industry was in a slump.

Hitchcock countered he personally would finance the project and film it at Universal-International using his Shamley Productions crew if Paramount would distribute.

This combined offer was accepted, and Hitchcock went ahead in spite of naysaying from producer Herbert Coleman and Shamley Productions executive Joan Harrison.

James P. Cavanagh, a writer on the Alfred Hitchcock Presents television series, wrote the original screenplay. The screenplay is relatively faithful to the novel, with a few notable adaptations by Hitchcock and Stefano.

Stefano found the character of Norman Bates—who, in the book, is middle-aged, overweight, and more overtly unstable—unsympathetic, but became more intrigued when Hitchcock suggested casting Anthony Perkins.

Also gone is Bates' interest in spiritualism , the occult and pornography. Smith notes that "Her story occupies only two of the novel's 17 chapters.

Hitchcock and Stefano expanded this to nearly half the narrative". For Stefano, the conversation between Marion and Norman in the hotel parlor in which she displays a maternal sympathy towards him makes it possible for the audience to switch their sympathies towards Norman Bates after Marion's murder.

Stefano wanted to give the audience "indications that something was quite wrong, but it could not be spelled out or overdone. The first name of the female protagonist was changed from Mary to Marion because a real Mary Crane existed in Phoenix.

Hitchcock preferred to focus the audience's attention on the solution to the mystery, [29] and Stefano thought such a relationship would make Sam Loomis seem cheap.

This provided some shock effect because toilets almost never were seen in American cinema in the s. Stefano thought this would make it easier to conceal the truth about "Mother" without tipping that something was being hidden.

Paramount, whose contract guaranteed another film by Hitchcock, did not want Hitchcock to make Psycho. Paramount was expecting No Bail for the Judge starring Audrey Hepburn , who became pregnant and had to bow out, leading Hitchcock to scrap the production.

Their official stance was that the book was "too repulsive" and "impossible for films", and nothing but another of his star-studded mystery thrillers would suffice.

To keep costs down, and because he was most comfortable around them, Hitchcock took most of his crew from his television series Alfred Hitchcock Presents , including the cinematographer, set designer, script supervisor, and first assistant director.

Paramount did distribute the film, but four years later Hitchcock sold his stock in Shamley to Universal's parent company MCA and his remaining six films were made at and distributed by Universal Pictures.

The film, independently produced and financed by Hitchcock, was shot at Revue Studios , [45] the same location as his television show.

This provided an angle of view similar to human vision, which helped to further involve the audience. Before shooting began in November, Hitchcock dispatched assistant director Hilton A.

Green to Phoenix to scout locations and shoot the opening scene. The shot was supposed to be an aerial shot of Phoenix that slowly zoomed into the hotel window of a passionate Marion and Sam.

Ultimately, the helicopter footage proved too shaky and had to be spliced with footage from the studio. Footage of her driving into Bakersfield to trade her car is also shown.

They also provided the location shots for the scene in which she is discovered sleeping in her car by the highway patrolman. Green also took photos of a prepared list of locations for later reconstruction in the studio.

These included many real estate offices and homes such as those belonging to Marion and her sister. Both the leads, Perkins and Leigh, were given freedom to interpret their roles and improvise as long as it did not involve moving the camera.

Throughout filming, Hitchcock created and hid various versions of the "Mother corpse" prop in Leigh's dressing room closet.

Leigh took the joke well, and she wondered whether it was done to keep her on edge and thus more in character or to judge which corpse would be scarier for the audience.

During shooting, Hitchcock was forced to uncharacteristically do retakes for some scenes. The final shot in the shower scene, which starts with an extreme close-up on Marion's eye and pulls up and out, proved difficult for Leigh because the water splashing in her face made her want to blink, and the cameraman had trouble as well because he had to manually focus while moving the camera.

Hitchcock forced retakes until all three elements were to his satisfaction. According to Hitchcock, a series of shots with Arbogast going up the stairs in the Bates house before he is stabbed were done by assistant director Hilton A.

Green, working with storyboard artist Saul Bass' drawings only while Hitchcock was incapacitated with the common cold. However, upon viewing the dailies of the shots, Hitchcock was forced to scrap them.

He claimed they were "no good" because they did not portray "an innocent person but a sinister man who was going up those stairs". Filming the murder of Arbogast proved problematic owing to the overhead camera angle necessary to hide the film's twist.

A camera track constructed on pulleys alongside the stairway together with a chairlike device had to be constructed and thoroughly tested over a period of weeks.

Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Psycho , he can be seen through a window—wearing a Stetson hat —standing outside Marion Crane's office.

Others have suggested that he chose this early appearance in the film in order to avoid distracting the audience. The murder of Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of cinema.

As such, it spawned numerous myths and legends. It was shot from December 17—23, , after Leigh had twice postponed the filming, firstly for a cold and then her period.

The combination of the close shots with their short duration makes the sequence feel more subjective than it would have been if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as "transferring the menace from the screen into the mind of the audience".

To capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the shower head were blocked and the camera placed a sufficient distance away so that the water, while appearing to be aimed directly at the lens, actually went around and past it.

The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled " The Murder ".

Hitchcock originally intended to have no music for the sequence and all motel scenes , [70] but Herrmann insisted he try his composition.

Afterward, Hitchcock agreed it vastly intensified the scene, and nearly doubled Herrmann's salary. There are varying accounts whether Leigh was in the shower the entire time or a body double was used for some parts of the murder sequence and its aftermath.

In an interview with Roger Ebert and in the book Alfred Hitchcock and the Making of Psycho , Leigh stated she was in the scene the entire time and Hitchcock used a stand-in only for the sequence in which Norman wraps Marion's body in a shower curtain and places it in the trunk of her car.

Riggs says that this is when she and Leigh became acquainted. As you know, you could not take the camera and just show a nude woman, it had to be done impressionistically.

So, it was done with little pieces of film, the head, the feet, the hand, etc. In that scene there were 78 pieces of film in about 45 seconds.

A popular myth emerged that, in order for Leigh's scream in the shower to sound realistic, ice-cold water was used. Leigh denied this on numerous occasions, saying the crew was accommodating, supplying hot water throughout the week-long shoot.

Another myth concerns Saul Bass , the graphic designer who created many of the title sequences of Hitchcock's films and storyboarded some of Psycho ' s scenes, claiming he had directed the shower scene.

This was refuted by several figures associated with the film, including Leigh, who stated: "absolutely not! I have emphatically said this in any interview I've ever given.

I've said it to his face in front of other people I was in that shower for seven days, and, believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots.

Green , the assistant director, also refutes Bass' claim: "There is not a shot in that movie that I didn't roll the camera for.

And I can tell you I never rolled the camera for Mr. Commentators such as Stephen Rebello and Bill Krohn have argued in favor of Bass' contribution to the scene in his capacity as visual consultant and storyboard artist.

Krohn's analysis of the production of Psycho in his book Hitchcock at Work , while refuting Bass' claims for directing the scene, notes that these storyboards did introduce key aspects of the final scene—most notably, the fact that the killer appears as a silhouette, and details such as the close-ups of the slashing knife, Leigh's desperate outstretched arm, the shower curtain being torn off its hooks, and the transition from the hole of the drainage pipe to Marion Crane's dead eyes.

Krohn notes that this final transition is highly reminiscent of the iris titles that Bass created for Vertigo. In order to create an ideal montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he trimmed down in the editing room.

He even brought a Moviola on the set to gauge the footage required. The final sequence, which his editor George Tomasini worked on with Hitchcock's advice, however did not go far beyond the basic structural elements set up by Bass' storyboards.

According to Donald Spoto in The Dark Side of Genius , Hitchcock's wife, Alma Reville , spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink.

According to Patricia Hitchcock , talking in Laurent Bouzereau 's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath.

In either case, the postmortem activity was edited out and was never seen by audiences. It is often claimed that, despite its graphic nature, the shower scene never once shows a knife puncturing flesh.

Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters.

The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul. She was like a virgin again, tranquil, at peace.

Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the " alienation effect " of killing off the "apparent center of the film" with which spectators had identified.

The scene was the subject of Alexandre O. Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget.

Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, [98] contrary to Hitchcock's request for a jazz score.

Film composer Fred Steiner , in an analysis of the score to Psycho , points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.

The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack.

There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene.

The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness. Herrmann biographer Steven C.

Smith writes that the music for the shower scene is "probably the most famous and most imitated cue in film music," [] but Hitchcock was originally opposed to having music in this scene.

Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion.

The second one, over the score for Torn Curtain , resulted in the end of their professional collaboration.

To honor the fiftieth anniversary of Psycho , in July , the San Francisco Symphony [] obtained a print of the film with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra performed the score live.

This was previously mounted by the Seattle Symphony in October as well, performing at the Benaroya Hall for two consecutive evenings. Psycho is a prime example of the type of film that appeared in the United States during the s after the erosion of the Production Code.

It was unprecedented in its depiction of sexuality and violence, right from the opening scene in which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.

Another controversial issue was the gender bending element. Perkins, who was allegedly a homosexual , [] and Hitchcock, who previously made Rope , were both experienced in the film's transgressive subject matter.

The viewer is unaware of the Bates' gender bending, until, at the end of the movie, it is revealed that Bates crossdresses as his mother during the attempted murder of Lila.

At the station, Sam asks why Bates was dressed that way. The police officer, ignorant of Bates' split personality, bluntly utters that Bates is a transvestite.

The psychiatrist corrects him and says, "Not exactly". He explains that Bates believes that he is his own mother when he dresses in her clothes.

According to the book Alfred Hitchcock and the Making of Psycho , the censors in charge of enforcing the Production Code wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts.

Hitchcock held onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their positions: those who had previously seen the breast now did not, and those who had not, now did.

They passed the film after the director removed one shot that showed the buttocks of Leigh's stand-in. Because board members did not show up for the re-shoot, the opening stayed.

Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents torn-up note paper fully visible.

No flushing toilet had appeared in mainstream film and television in the United States at that time. Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene.

In Britain, the BBFC requested cuts to stabbing sounds and visible nude shots, and in New Zealand the shot of Norman washing blood from his hands was objected to.

In Singapore, though the shower scene was left untouched, the murder of Arbogast, and a shot of Norman's mother's corpse were removed.

The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the time.

It was not entirely original as Clouzot had done the same in France for Diabolique. However, after the first day, the owners enjoyed long lines of people waiting to see the film.

Hitchcock did most of the promotion on his own, forbidding Leigh and Perkins to make the usual television, radio, and print interviews for fear of them revealing the plot.

The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away plot details before stopping himself.

It is "tracked" with Herrmann's Psycho theme, but also jovial music from Hitchcock's comedy The Trouble with Harry ; most of Hitchcock's dialogue is post-synchronized.

The trailer was made after completion of the film, and because Janet Leigh was no longer available for filming, Hitchcock had Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview.

Because the title Psycho instantly covers most of the screen, the switch went unnoticed by audiences for years.

However, a freeze-frame analysis clearly reveals that it is Miles and not Leigh in the shower during the trailer.

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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Director: Alfred Hitchcock. Writers: Joseph Stefano screenplay by , Robert Bloch based on the novel by.

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