"AAAAAAH!" I'm paraphrasing, of course.
“A boy’s best friend is his mother.”
Quite a departure from the types of movies I usually review, Alfred Hitchcock’s Psycho is one of my top five favorite films and (in my humble opinion) undeniably the best horror/thriller ever made.
What makes this film so incredible is that it completely shattered the tradition of the typical thriller. It starkly and chillingly portrays insanity; which, at the time of its release, was not something ordinarily done. Yet again, Hitchcock relies on suspense, not gore, to shock the audience. He intelligently sets up relationships, motivations, situations…and then demolishes it all. It is a brilliant and utterly original film.
Psycho was released in 1960, eight years before the end of the Hays Code (or the Motion Picture Production Code). For those of you who don’t know, the Code basically established what could and couldn’t be portrayed in American films. I’m not going to list every do and don’t; I’ll just give the three main principles:
1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.
As you can see, these were pretty strict rules. That’s not to say they weren’t good ones; only about one-tenth of the films that are released nowadays would pass the Code. The code was abandoned in ’68, in favor of the new MPAA ratings system (Psycho was re-rated M in 1968, and re-re-rated R in 1984).
Hitchcock filmed the movie in black and white, because, in color, “it would have been too gory”. There were a few shots that were left on the cutting room floor, as well as some lines that were found offensive. It’s really quite an event that this movie passed the Code. It’s not horrible, and quite tame when compared to any horror film made after Night of the Living Dead (1968), which is often credited as the main reason for the MPAA ratings system. Still, though, for audiences in 1960, it was shocking.
The ending, which I will not reveal here, gets me every time. I’ve probably seen this movie six times, but the end always gives me chills.
This is probably Hitchcock’s most intense, frightening film, and his first American film to be labeled a “horror” instead of just a “thriller”. It’s unlike any of his previous films, yet it keeps that wonderful Hitchcockian flavor. The first half-hour of the film is more of a thriller, or a drama. Nothing particularly exciting or frightening happens. That’s not to say it’s not interesting; I was enthralled from the minute the opening credits began. As Hitch himself said, “There is no terror in the bang, only in the anticipation of it.” Don’t be put off by the somewhat slow-moving beginning. Promise?
One last thing. The score for Psycho is one of the greatest ever written. Of course, everyone knows about the screeching violins during the infamous “shower scene”, but the entire film is full of masterful music by Bernard Herrmann. The opening credits begin with the pounding, pulsing, deep strings, which are soon joined by terrifying strings of a much higher pitch. It’s enough to put you on edge before even a second of film has been shown.
Watch it with the lights out. Turn the volume up. It’s awesome.
Summary
Arizona officeworker Marion Crane (Janet Leigh) cannot marry her lover, Sam Loomis (John Gavin), because most of his money goes towards alimony. She is exasperated with having to meet Sam during her lunch breaks. After one such meeting, Marion returns to her workplace, where her employer asks her to deposit $40,000 cash in a local bank. Desperate, angry, and impulsive, she leaves town with the money and heads toward California, determined to make a new life with Sam.
Night falls, and so does rain. This causes Marion to drive off the main highway, and to happen upon the vacant Bates Motel. She stops there for the night, where she is met by the shy and peculiar Norman Bates (Anthony Perkins). Marion discovers that poor Norman is dominated by his mother, and she agrees to eat dinner with him in the motel’s office. After dinner, she returns to her room, where she reaches a decision. She undresses and steps into the shower.
Information
Directed by Alfred Hitchcock;
Written by Robert Bloch (novel upon which it was based), Joseph Stefano (screenplay);
Starring Janet Leigh as Marion Crane, Anthony Perkins as Norman Bates, John Gavin as Sam Loomis, Vera Miles as Lila Crane, and Martin Balsam as Detective Milton Arbogast;
Produced by Alfred Hitchcock;
Music by Bernard Herrmann.
Facts
Martha Hyer, Eva Marie Saint, Piper Laurie, Hope Lange, Shirley Jones, and Lana Turner were all considered for the role of Marion Crane.
Alfred Hitchcock bought the rights to the novel for just $9,000. He then bought as many copies of the book as he could, to keep the ending a secret.
During filming, Psycho was referred to as “Production 9401” or “Wimpy”. The latter name came from the second-unit cameraman, Rex Wimpy, who appeared on clapboards and production sheets, and some on-the-set stills for Psycho.
This is the last film Hitchcock did for Paramount. By the time filming started, Hitchcock had already moved his offices to Universal, and the film was shot on the Universal backlot. Universal owns the rights today, though the Paramount logo still appears on the film.
Vera Miles wore a wig for this film, because she had shaved her head for her role in 5 Branded Women (1960).
Psycho is the first American film to show a toilet flushing on-screen.
Anthony Perkins was paid $40,000 for his role. Hee hee.
Psycho is ranked #1 on AFI’s 100 Years… 100 Thrills list.
The shower scene has over 90 splices in it. Hitchcock spent nearly a week shooting this scene, making sure no nudity was shown and that the knife never actually penetrated the skin.
The score is played entirely by stringed instruments.
As part of publicity campaign prior to release of the film, Alfred Hitchcock said: “It has been rumored that ‘Psycho’ is so terrifying that it will scare some people speechless. Some of my men hopefully sent their wives to a screening. The women emerged badly shaken but still vigorously vocal.”
Hitchcock thought it would be amusing if theaters would prohibit patrons from entering the film late. Surprisingly, theater managers went along with this, and it proved to be an extremely successful marketing gimmick. At one point, a man and his quite pregnant wife were deliberately sent to test the theater managers’ strictness. The man and his wife not admitted. Hee hee.
(When you watch, try to spot Hitch’s cameo! I’ll give you a hint: it’s near the beginning of the film.)
-luke
Stay Classic 