Phoenix office worker 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 forty thousand dollars 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 <email@example.com>
In 2008, Marion Cotillard re-enacted the shower scene in a photoshoot for Vanity Fair. Cotillard shares the same first name of Janet Leigh's character in this movie: both are called Marion. See more »
'Telescoping' story time often occurs in movies, but 'Psycho' stretches it to the limit in Norman's first appearance. Mere seconds after Marion honks her car horn onscreen to attract attention, Norman exits the main house's front door to come downhill and check her in. Since we now know (after more than one viewing) who it really was in that second-floor window, he would've had to doff the dress and leap downstairs in street clothes, in an instant, to accomplish all this. See more »
On the Universal DVD, Norman can be heard (not seen) screaming "I'm Norma Bates!" as Sam Loomis rushes in to stop him from murdering Lila. The scream is not present in at least some release prints. See more »
Getting into Hitchcock's Psycho, 57 years after its original release is like assisting to a masterclass of sorts. We can now identify what made this little lurid tale into a classic. Hitchcock himself, naturally, but now we know the first director's cut was a major disappointment and that Alma Reville - Hitch's wife - took over, re edited and the results have been praised, applauded and studied ever since. Janet Leigh's Marion Crane created a movie landmark with her shower scene. Bernard Herrmann and his strings created an extra character that we recognize as soon as it reappears under any disguise but, what shook me the most now in 2017 is Anthony Perkins as Norman Bates. His performance has evolved with the passing of time and its effect has remain as chilling, as moving, as funny and as real as it was in 1960. It's interesting to watch Gus Van Sant's 1998 version with Vince Vaugh as Norman Bates. If you look at the film, shot by shot with Berrnard Herrmann's strings - it's pretty fantastic. - Play it in black and white if you can. The problem and it is a monumental problem, we wait for Janet Leigh and Anthony Perkins, if the casting of Anne Heche was really bad - not a hint of Janet Leigh's humanity, the casting of Vince Vaughn was incomprehensible. Not just not credible for a moment but annoying, very annoying. Anthony Perkins brought something profoundly personal to Norman Bates and as a consequence we connected with his sickness. We felt for him. Okay, sorry, I didn't mean to go there but I felt compelled to because I saw again Psycho (1960) ad Psycho (1998) at 24 hours from each other and realized that the main flaw of the 1998 versions is the absence of Anthony Perkins.
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