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Thriller, Mystery, Horror
IMDB rating:
Alfred Hitchcock


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Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Martin Balsam as Milton Arbogast
John McIntire as Deputy Sheriff Al Chambers
Simon Oakland as Dr. Fred Richmond
Vaughn Taylor as George Lowery
Frank Albertson as Tom Cassidy
Lurene Tuttle as Mrs. Chambers
Patricia Hitchcock as Caroline
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Psycho Storyline: Phoenix officeworker 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 $40,000 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.
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Hitchcock's Best Movie Ever!
Alfred Hitchcock is one of my favourite directors and I've seen a lot of his movies and this is truly his best work. I mean before I saw Psycho, all I really knew about it was the famous shower scene which I saw references to in parodies or cartoons or something like that. But this movie turned out to be one of my all-time favourites even though I'm not that big into horror films.

I like how Hitchcock decided to do the film in black-and-white because it makes it darker and suspenseful. The story starts out somewhat slow, but I like the conversations going on as Marion is driving on the highway, one of the most suspenseful parts of the movie. But the magic really begins when it gets to the Bates Motel.

I'm surprised Anthony Perkins never got an Oscar or even a nomination for his portrayal of Norman Bates, I mean he was born to play that role! I can't imagine any other actor playing him. I mean you can see that there's something suspicious about Norman but you can't figure it out. But he just seems like a nice, friendly person who "wouldn't even hurt a fly." And what surprises me even more is that he didn't star in any other well-known movies after Psycho. That just shows how underrated he is as an actor. But I'm glad at least Janet Leigh got a nomination for playing Marion Crane and won a Golden Globe.

The one scene that really freaked me out, and still does, is when Lila Crane discovers Norman Bates's mother's corpse in the fruit cellar, and then Norman comes in dressed as his mother and carrying a knife and revealing that he is the murdering mother. I wasn't expecting that in anyway at all. I can just imagine what people would've thought about that because movies were much tamer back then. This movie makes me afraid of walking in a dark room because I always have the feeling a shadowy figure might pop out and stab me to death.

I've also watched the two Psycho sequels that were made in the 80s and they're good enough to watch but they're nothing compared to the original. But I still think the work well.

Overall this movie has everything that makes a movie a masterpiece: excellent acting, excellent directing, excellent writing, excellent cinematography, excellent suspense and even an excellent twist. It's pretty much perfect in every way.

In conclusion, thank you Alfred Hitchcock for creating this movie and may you rest in peace.
Best horror movie ever?
OK, this is the tough one! This was first Hitshock's movie that i watched so far, and i'm thrilled. Except the story that movie follows, it send one very clear message (at least for me) that money, and human greed for money can be very destructive. It also show that we can never know what is hiding in minds of people, even the one we know very good (Not just Norman twisted mind, but Marion Crane's "betrayal"). Movie has very original story lines, it's not just some "stereotypical horror movie" on what are we accustomed when it come to them. I liked that as movie progressing mystery for the main characters become bigger and bigger, but not for us. Trough the whole movie we think that we know what's happening, until that plot twist at the end (one of the best horror movie plot twist ever) which surprise us all. I honesty didn't expect something like that happening! Acting in the movie was awesome,and every single one of the main characters pulled out an excellent performance. Anyway i really like this film, and all though i don't appreciate horror movies that much, i can surely say that this is one of my favorite movies, and possibly best horror movie ever (for me definitely)!
" I think I must have one of those faces you can't help believing."
Another favorite. I'm pretty sure this film is to blame for my early and unending love of thrillers and horror films (only the good ones though). As usual, the photography is my favorite part, as well as the editing, since both aid each other extremely well. I'm not even going to touch the shower scene, that's been analyzed to death (but I do love it). My favorite part of the photography is when she's asleep in the car, and the cop comes and talks to her through the window. The close ups in that scene are amazing. A+ acting too, perfect amount of tension. I also like when she's driving and all the bright lights are blinding her from the other side of the road. I'm so pleased they decided to film this is b&w.

There are a couple other things I'd like to mention too. First, this film totally flaunts the code, right from the opening scene. I normally wouldn't have noticed it as a casual viewer but bearing in mind film history, this is the beginning of the end of the code (finally!). Second, the score is absolutely brilliant. About 90% of my music collection is film scores and I've been a fan of Bernard Herrmann since realizing he did a great number of soundtracks for Hitchcock films (North by Northwest is great, and some non Hitchcock films like Mysterious Island are good too). But wow, the Psycho score is really quite amazing. It's so unobtrusive yet brilliantly sets the mood. And I'm not talking about the screeching strings, even though they're the most famous.
My favorite movie...
I think this is one of the best films ever made. It's a true classic. I have seen it over 20 times and I find something new in it every time I see it and it never gets boring. I'm really disappointed that they chose to remake it. But 50 years from now, people will remember the original and not the remake. A lot of people these days will be turned off by the movie because it's old and in black and white, but everyone should see. It's a technical marvel, Hitchcock was a wizard with the camera. There are also terrific performances by Janet Leigh and Anthony Perkins. This movie basically started the whole slasher film genre that John Carpenter kick-started in 1978 with Halloween. In addition to being a great movie, it's also one of the most influential ever made. Look at films like Brian DePalmas's Dressed to Kill and Halloween if you don't believe me.
Horror Fans Who Consider themselves 'Horror Fans' and haven't seen this movie shouldn't consider themselves horror fans.
Psycho is a film that marks its place in movie history. From beginning to end, you are focused, listening to every word they say. But when stuff goes down, you are hiding behind your blanket, trying to protect yourself from what you're about to see. Yeah, it's from the 1960's, but this isn't like a 1960's horror movie. The film is thrilling and violent, but most of all, it's entertaining from beginning to end. With a killer soundtrack, it's no wonder you jump out of your seat when something surprising happens. And, yes. The twist ending is the father of twist endings. It's great. Long story short, see this movie. I recommend it to everyone reading this, and everyone not reading this, still see the movie. It's really good.

This is one to watch again and again.
Alfred Hitchcock's crisp efficiency is not unlike that of Norman Bates (Anthony Perkins), the dutiful son who cleans up after his mother in the landmark thriller "Psycho." Not only is this a masterfully directed suspense chiller, it actually set standards by which all fright films since have been measured. The cinema has produced some great scores, but Bernard Herrmann's music is incredibly enhancing and simply unforgettable, one of the best ever (and it did not even get an Oscar nomination for Best Score). The more I watch "Psycho," the more I prefer the first half, with its sense of dread and a fascinatingly cool Janet Leigh (Oscar nomination for Best Supporting Actress). Hitchcock, of course, never won the Best Director Oscar, but was nominated for "Psycho," one of 1960's biggest box-office hits. Shockingly, Anthony Perkins, in a career-making role and one of the most famous performances in screen history, failed to win a Best Actor nomination -- probably because the performance was too edgy and disturbing (which is what made it great). Some scenes are dated, of course, but this film almost never falters. It gets a "9" (and a very high nine at that) from me.
A Hitchcock masterpiece—thanks to Bernard Herrmann
"Psycho" ranks second on a list of Alfred Hitchcock's four masterpieces, following "Vertigo" and followed by "North by Northwest" and "Rear Window," which ranks number four only because it lacks a Bernard Herrmann score. While Hitch's camera is always the best feature of his films, Herrmann is the artist who puts three of them over the top and into the realm of true greatness—setting them beyond such near-great movies as "Notorious" and "Strangers on a Train," which both had good scores, but nothing like the sublime and haunting music of this film. There is no underestimating Hitchcock, nor the work of Janet Leigh and Anthony Perkins, who play the film's two main characters; but without Herrmann this could not have been a great movie.

The opening scene is the best place to appreciate both Herrmann and Hitchcock. Joseph Stefano's script is extremely well-structured and it was his idea to make Marion Crane the story's main character, before switching over forty minutes later to Norman Bates. (In the original novel, Robert Bloch dispatches Mary Crane much sooner.) But his dialogue is often stilted, and the opening scene, where Marion and Sam Loomis (John Gavin) share a lunchtime tryst in a cheap hotel, is badly written. The fault is made worse by Gavin, whose performance is stiff and awkward throughout, nowhere more than here. Yet this scene is among the glories of the movie, with the camera, the music and Janet Leigh's performance all giving it an aching poignancy that haunts our minds long after the film is over. Our sense of Marion's longing and frustration, which could not be conveyed by Leigh alone, is necessary for us to understand why she commits the rash act of stealing money from her boss's client. Watch how much is conveyed to us by the camera when Marion suddenly rises from the bed. Listen how much is conveyed by Herrmann's music when Sam spreads out his hands in mock-surrender and says, "All right." The scene as written would seem unworkable in other hands; in the hands of Herrmann and Hitchcock (and Leigh) it becomes masterly.

Gus Van Sant's remake, a fascinating failure, helps us appreciate many things about this film, including the performances—even, perversely, the performances of Gavin and Vera Miles, who plays Marion's sister, Lila. Gavin is incompetent and Miles is thoroughly competent, but both have the same effect on us: we don't care about them. Or rather, we would be bored by them if they were doing anything other than solving the mystery of Marion's disappearance. Viggo Mortensen and Julianne Moore give these bland characters more dimension, and in doing so, annoy us with their distracting personalities. Characters that are deliberately featureless often excite our imaginations more than ones that are full of tedious quirks. As is so often true with old movies, their "faults" prove to be virtues when remakes attempt to correct them.

Oddly, I vividly remember everything about the Van Sant film, except for Vince Vaughn's performance as Norman Bates; I only remember that at the time I thought it was excellent. Anne Heche, by contrast, was memorably awful, especially in the one scene that enhances our appreciation of Janet Leigh. When Marion is in her apartment alone (and without any monologue), packing her things and worrying about her mad plan, Leigh conveys all the anxiety in her decision with a minimum of affectation. But Heche not only makes the putrid decision to play the scene as if she is half-amused by her own craziness; she conveys this idea with the maximum of overplaying, as if she were compensating for her lack of dialogue with broad gestures and eye-rolling. Leigh shows us how she feels; Heche announces it over a megaphone.

Anthony Perkins' performance as Norman Bates is among the most memorable ever recorded on film. He is sympathetic and frightening; innocent and malign; horrifyingly unlike us and even more horrifyingly like us. Stefano gives him the best lines; and Hitchcock's camera is preternaturally adept at drawing us into his world when necessary and then coldly keeping us distant when needed. Yet with all this, how much more than a satisfying thriller with a clever trick ending could "Psycho" have been without Herrmann's score to help it transcend itself? Could Norman Bates have haunted us as much with a merely excellent score, like the ones for "Strangers on a Train" and "Frenzy"? Neither Bloch nor Stefano is Shakespeare, and Norman Bates does not live on the page, as Macbeth, Edmund and Iago do. Could Norman Bates, like Shakespeare's characters, live for four-hundred more years? If he survives, it will have been the joint genius of Perkins, Hitchcock and Bernard Herrmann that rendered him, and his story, an immortal nightmare.
Still Remarkable To This Day
What a fantastic movie! A visual stunner with great camera work, superb acting, a wonderful script, and one of the greatest scores of all time. The term "masterpiece" gets thrown around a lot today but in this instance the glove fits. Hitchcock pulled out all the stops for this one and made a horror movie that can still frighten an audience today. Anthony Perkins' performance is fascinatingly perfect as Norman Bates. The duality of his role must have been difficult to act with but he pulls it off beautifully.

The one qualm I have is a common one. The exposition scene towards the end where the psychologist practically spells out the movie for you as if the audience are idiots who haven't been paying attention at all. I guess at the time psychological thrillers were far less common and the 1960's audience needed an explanation as to why Norman would dress up like his mother, but today this scene sticks out like a sore thumb. Despite this, I still give this movie a 10/10 for an (almost) perfect hour and a half of cinema.
A mind is a terrible thing to lose
The psychological threads of the film are so complex as to be nearly inexhaustible; this feature alone contributes to its place in film history as one of the great celluloid efforts of all time. Like any genuine work of true genius, it may be enjoyed on more than one level. Alfred Hitchcock forced film-goers to confront head-on just a few of the shadowy corners of the human psyche: the Oedipus/Elektra complexes, jealousy about sexual [or perceived sexual] rights, guilt, and self-hatred [as in Norman's cross-dresssing], to cite just a few examples of neurotic behavior. Perhaps the most frightening interpretation of the film is that one is responsible for one's actions and cannot, ever, alter the designated course a particular act has set in motion. Here, it is Marion Crane's decision to steal the $40 grand from her employer in order to race to Fairvale to be with her [illicit] lover, Sam Loomis. The opening vista, a bleak mountain and desert landscape over Phoenix [note the metaphor for both the geographical location and the town's name], is replete with the futility of the lovers ever forging a permanent bond with one another. The film is a terrific essay of human desperation and its stray threads: the hunger for sex, for a safe haven, for an ascendant place in one's tiny universe. The barrenness of the emotional landscape is shiveringly mirrored in Bernard Herrmann's shrill, spiky score, which speaks of the desolation of all humankind. Both murders are violent acts of mutilation and hatred, one thinks, not only for the victims, but also for the perpetrator. Fittingly, the killer's "cleansing" ritual takes place in a swamp, the normal repository for all kinds of secrets and unclean, dangerous organisms lurking beneath the stagnant surface. Finally, I found most interesting the title on the record label on the turntable in Norman's room: Beethoven's Eroica Symphony [No. 3]. This majestic, noble work bears no resemblance to the music one would justly associate with the tormented mind of young Bates. One can only guess that the boy's impressionable mind was at one time quite normal and receptive to elevated experiences such as a hearing of this great work of Beethoven's, but that jealousy, perhaps having been spurred by an intimacy with his mother, drove the boy to madness. Guilt, one of the human being's great purgatives, finds no outlet here, as we see in Norman's feral smile at the film's end. Hitchcock's use of mirrors works wonderful psychological tricks upon us, forcing us to wonder if what we see in our real and fancied mirrors, is real.
"Why, she wouldn't even harm a fly..."
In a long line of great films, Psycho has got to be Alfred Hitchcock's most entertaining. Despite being a horror movie, and having its fair share of genuinely frightening moments, Psycho has always struck me as being made to have a certain lighthearted charm. I have to imagine when Alfred Hitchcock made this film he was having fun and wanted the film to be as fun for us as it was for him. It's one of my favorite scary movies, but when I look back to it I don't think of it at all like I do the others on the list. This movie is just a good time.

If Psycho was a person, and its fun, creepy atmosphere was its skin, and Anthony Perkins was its face I guess, Its structure would be a crazy adamantite skeleton and its pacing? Well, synthetic cyborg muscles of course. For a horror film to maintain the feeling it needs to keep its viewers attention in the events leading up to the scares, it needs to have a solid setup for the plot that goes on long enough for it to not feel rushed but not so overlong that it becomes boring and takes away from the impact of the scary moments it's building up to. It needs to be interesting enough to not feel like a chore, but still understand its role as a vehicle for the frightening moments in the films. The story takes a back seat to the scary stuff in a horror movie. The good ones understand this, but the best of them do it in a way that doesn't compromise the quality of the story. Psycho is a shining example of a balanced and well executed horror film narrative. It's the king of this technique. the events leading up to Marion Crane's trip to the Bates motel work exceptionally well, and her encounters with the police officers at the dealership and on the road do an amazing job of establishing the spooky feel of the film in a seamless way and work to keep the viewer interested in what's to come. The ease with which Hitchcock leads into the events that take place at the motel are a huge part of what allows him to make the film such a good time.

You can't sing the praises of Psycho without applauding the incredible work Anthony Perkins does as the film's criminally insane leading man- the one and only Norman motherloving Bates. Perkins' ability to personify a person with such a severe case of dissociative identity disorder is so unbelievably good you'd think this guy went home at the end of the day and lived life as Norman Bates instead of himself. Not only does he have such an intrinsic ability to play the psycho, but he does such an impeccable job of committing Norman's crimes as well. When he sneaks up on the woman in the legendary and absolutely immortal shower scene, he does so like he was made to be a movie monster, and when he rushes in to attack the detective to the sound of Bernard Herrmann's screeching soundtrack he could scare a banana straight out of its goshdang peel. And bananas don't even have eyes or ears or even watch movies in the first place.

I love this film. it's a champion of horror. In a genre where so many films can only be fun by sacrificing the scares or just by being low budget bargain bin Netflix dumpster movies, Psycho triumphs in its ability to conquer everything important to entertain horror fans. Alfred Hitchcock's talent is so palpable in this film it may just as well turn itself into a big spoonful of Bates flavored gelato and fly its way right into the brain mouths of everyone watching. Gelato only has half the calories of regular ice cream, too. You ever try it? It's like ice cream pudding. It's great. Just like this film.
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