And it just so happens, today is Halloween. This is the day when many people
turned to horror movies to be scared. Everybody has their favorite for
significant portion of the population the epitome of a horror movie is the
slasher flick. We all know the type, a bunch of teenagers looking to party
decide to have their sex/drugs/alcohol in some remote location. The supernatural
serial killer appears, and one by one takes them off until only the survivor
girl is remaining. While it is true, that there are some excellent examples of
horror within this category, if you really want to provide a fright that will
stay with the viewer long after the credits have rolled, you need to get into
their heads that the psychological thriller. The undisputed master of doing this
was Alfred Hitchcock. Among his amazing catalog of work one film stands out as
one of the most frightening movies ever made; ‘Psycho’. For those who are not as
well versed in classic cinema, I am of course referring to the 1960 version
directed by Hitchcock. I am emphatically not discussing the 1998 remake by Gus
Van Sant. This page for page reshooting of the classic may have every aspect of
the original except for the talent behind the lens. As a side note, if you want
to see some of the machinations that went on behind the scenes in order to get
this movie made, I recommend the bio-flick, ‘Hitchcock’, starring Sir Anthony
Hopkins and Dame Helen Mirren. When you consider the elements that Hitchcock
infused into his Psycho, the Master, dared to break many of the traditional
tenants of the genre and in doing so established an entirely new way of making a
suspense thriller into something that can surpass most horror films and shopping
the audience.
Back in 1960 having an established leading lady wearing nothing but a bra and
half-slip that only in the film but boldly shown on the poster was considered
shocking by many. This may come as a surprise to younger members of today’s
audience that this film came out and that sliver of time between the
conservative nuclear family of the 50s and the growing rebellious movements that
formed the 60s. Back then – this is lingerie almost never featured live models
but dependent on sketches to avoid impropriety. Janet Leigh portrayed Marion
Crane; an office worker is successful real estate firm in Phoenix Arizona. After
a nooner with her boyfriend in a hotel during the lunch hour Marion goes back to
work and steals a $40,000 deposit of voice just received from a wealthy Texan
client. After taking the money in an envelope she flees the scene in her car
only to be spotted by her boss during the escape. She drives away frantically
until nightfall’s and she realizes she has to find some place to rest for the
night. She happens upon an out-of-the-way motel, ‘The Bates Motel’, with its
vacancy sign flashing in the darkness. Marion books a room with its owner,
Norman Bates (Anthony Perkins). Norman is very socially awkward particularly
around women and office of the room adjacent to the office in case she should
need something during the night. Unless you have come out of a very prolonged
coma for your spaceship just landed, you undoubtedly aware of what happens next.
While Marion is taking a shower the figure of a woman enters the bathroom,
brutally stabbing her to death. The idea that a top billed after such as Janet
Leigh would be killed off so early in the movie was unimaginable. Hitchcock
proceeded in this fashion for the same reason he did every scene in his entire
oeuvre; it was calculated carefully to subject the audience to an unexpected,
psychologically powerful event. A young woman in an extremely vulnerable yet
mundane position of being naked in a shower was completely startling. The now
famous screeching violins composed by Bernard Herrmann, is still used to
demonstrate the importance of blending audio and video in order to completely
immerse the audience. In black and white, the blood mixing with the shower water
and spinning down into the drain is an ideal visual representation of this young
woman’s life literally flowing out of her.
Marion sister, Lila (Vera Miles), concerned about her sister’s sudden
disappearance comes looking for. A detective, Milton Arbogast (Martin Balsam),
investigates but is murdered by the same mysterious woman. All during this time,
people such as Marion’s boss are concerned about the missing $40,000, a
considerable sum in 1960s currency. It was gathered up along with all of
Marion’s belongings when Norman stopped her into the trunk of a car sinking it
in a nearby lake. This is a classic representation of one of Alfred Hitchcock’s
most famous memes; the McGuffin. This is a plot device whereby something in the
film is vitally important to the characters within the context of the story, yet
it is completely inconsequential to the audience. Many have attempted to use
this technique such as the briefcase in Quentin Tarantino’s ‘Pulp Fiction’, but
no filmmaker and about how talented has ever come close to using it as
effectively as Alfred Hitchcock.
This is a film of such incredible nuance and texture data certainly timeless.
In 1992 it was inducted into the national film Registry and has been included in
the American film Institute’s list of top pictures ever as well as for specific
genre. Their academics that have devoted a significant portion of their careers
to dissecting the minutia that when combined creates the synergy that makes this
movie so great. Hitchcock’s decision to film in black and white was largely
economic. He was tied of the big blockbuster star laden movies that he had been
making for the studios and desire to get back to basics. I had a good friend who
was really into movies that held the disdain for black-and-white films. After
having to watch this movie she began to understand that black-and-white film is
just another media can then use as effectively as it was here provides a
powerful and lasting impact. Naturally, Hitchcock began his film career before
the advent of color photography. This film demonstrates that his appreciation
for the use of shadows and the stark contrast between black and white as well as
the use of the shades of gray results in startling images. Little touches such
as Marion’s bra and purse are examples of this. Before stealing the money they
are white, signifying her innocence. After the theft she is corrupted and those
items are now black. Hitchcock was also known for his innovative camera angles
and cinematic techniques. This included the creation of a special shower head so
he can insert the camera lens directly in the shower depicting a close-up of
Marion’s face as she is being learned while not having the lens subjected to
water.
The fly on the wall camera angle used on the scene when the detective is
murdered is in some ways a variation in reversal of the Dutch angle. By
positioning the camera oblique above him, you have a vantage point that is
disconcerting because it is impossible for human observing the scene to obtain.
It has come to be known as the fly on the wall shot and continues to help keep
audiences emotionally and psychologically off-balance. Apparently, Hitchcock
bought up as many copies of the novels used as a source for the film as
possible. This was to prevent people from knowing the ending. His natural back
to showmanship came through interaction with the audience was expertly use in
the commercials for the film as well as the gimmick of using cardboard cutouts
of the filmmaker warning the audience members that they will not be allowed in
after the film begins. From the moment the film was conceived, throughout its
production and even into its marketing, Alfred Hitchcock imbued his masterpiece
which such subtle elements each designed specifically to project horror deep
within the recesses of the audience’s mind. Even if you have a copy of this film
already in your library, as many most likely do, it is worth reinvesting to
obtain a high definition Blu-ray copy. The pristine 1080p video enables you to
model at details you undoubtedly missed the previous editions.