Psycho (1960)

We know Psycho because of its famous shower scene. But do we know it for the art-house way in which it has validated the horror genre? Think of 1960 and the films from which Alfred Hitchcock had to draw its inspirations. The Blob? The Fly? Great horror films, but are they cinema? I would say not--at least not in the way that Psycho is almost universally considered to be. The differences are extreme and much more pronounced in this, one of Hitchcock's most defining, and certainly most chilling film.

The Master of Suspense has a fascinating way of getting his actors to interpret their scripts in entirely unusual ways. Take the opening, for example. Janet Leigh is Marion Crane, who begins the film in her bra talking to Sam, to whom she is very much in love. Their dialogue is angry, but all that the audience can hear is sex. The discussion revolves around their relationship and the fact that he is in debt to his ex wife. He desperately needs money, so she steals it. $40,000 1960 dollars can go a long way and is sure to be noticed, but a deeply set passion has compelled her to do something drastic.

This is the setup for what seems to be a fairly typical Hitchcock film. A person of seemingly normal state of mind does something that none of us imagine that we are capable of on the surface, but deep down know that we are the same. It would seem that the rest of the film would comprise of the fallout of her actions and the way that she deals morally with the crime that she has comitted. Running from a cop that has been following her, she finds herself at the Bates Motel.

The owner, Norman Bates (Anthony Perkins), lives alone with his mother in a dark and creepy old house up on a hill looking over the cabins of the motel. Our introduction to Mrs. Bates is heard, but not seen and thankfully so because she seems like a downright unpleasant person. He seems nice enough--lonely, under the thumb of his mother, and a bit eccentric, but nevertheless he seems to have a good heart and definitely a man's libido under the bumbling, nervous, gentlemanly exterior. Marion is convinced by the prolific way in which he talks to return the money. But wait...if she is going to appologize and return the money and eveything is going to be hunky-dory, then where is the plot going? We are only forty minutes in and I am deeply involved!

Why don't you go take a shower, Marion.

Suddenly we are sent down a dark and twisted tale of what a young man will do to protect the abominabal misdeeds of his mother. Marion's beau and sister go on the hunt to find her with the help of a P.I., and what they find leads to one of the most shocking conclusions in cinematic history. Never has there been a duo like Norman Bates and his mother, and Hitchcock knows how to play every moment of them together and alone. It takes a psychiatrist at the end to explain it all for us, and the more he talks the more the minds of the audience are sent  reeling trying to place the pieces together. They fit all too well.

This type of horror is so worrying not because of the jolts of adrenaline it creates (though there are those), but because it is about the very complex inner workings of the mind and what it will do protect itself. Everyone has the ability to become Norman, and his seeming normality makes his actions much more disturbing. Doing terrible things beyond your control simply because one feels indebted to the mother is an extremely complicated mess of emotions and moralistic questions raised, and is a topic far beyond any normal horror film. This film works, and works so well not only because of the ample talents of Mr. Hitchcock put to very good use, but also because the material is so appalling.

He is the Master of Suspense. One can say this in reference to any number of his films, but I don't believe any of his work shows it better than this one. I can think of no better example to illustrate the importance of timing and buildup. He knew better than anyone that it is never about the "gotcha" moment, but always the one immediately preceding it. It taps in so keenly into our fear of the unexplainable--the human mind--but only after it has succeeded in drawing us in hook, line, and sinker into a taught story of the murderous whims of a crazy old woman.

Anyone who watches this film will find themselves surprised at the lasting impact of the film. This is not merely a great horror film, it is a great film in general. The score, the characters, the location are inspiring and haunting and will make everyone nervous of hotel showers for years to come.

4/4