Psycho
Psycho is a black and white thriller directed by Alfred
Hitchcock during the 1960’s in which the leading lady Marion steals a large sum
of money from her work and during her escape, comes upon a motel with a lonely
manager of the motel, Norman, and gets murdered in an iconic way in the shower.
An investigator is sent in search of Marion when she fails to make contact with
her family or workplace and after the theft. After the investigator speaks to
Norman, the motel manager, he tries to seek out the mysterious mentally ill mother
Norman keeps mentioning, but instead ends up getting murdered, at which point
Marion’s sister decides to investigate for herself and drives down to the motel
with Marion’s former boyfriend.
Figure 1. Norman
offers Marion Dinner. (1960)
As the film was shot in 1960, it was at the time unthinkable
to show real violence or nudity in the cinema so Hitchcock had to get creative
with Marion’s nude murder scene and made it more into a collage of details
happening rather than a shot showing anything precise. As Jenkins states: “It offers perfect case studies of suspense,
paranoia and montage for lazy film-studies tutors.” (Jenkins, 2010:3) which
demonstrates the suspense and combination with collage work that occurred in
this or other scenes. It also touches upon the paranoia Marion experiences
while driving away with the money and being pursued by police for a prolonged
length of time. This might show how much emphasis Hitchcock put into controlling
the emotions over the audience, as many close up shots concentrate on the
characters uneasiness or even nervousness and madness. These close ups really
do help to emphasise the emotions and atmosphere Hitchcock is trying to convey.
Figure 2. Norman’s
subtle madness. (1960)
One of the special characteristics of the film is the ever
changing sympathies towards the main characters, an example of this is when the
audience is made to follow the main antagonist himself, the audience is fooled
into believing the murderer is a twisted low level accomplice following the
guidance of his mother.
Harris states: “Although
the remainder of the film beyond the shower scene involves the resolution of
the events set into motion by Marion Crane’s theft of the money, in reality,
what Hitchcock is doing is further exploring the psyche of Norman Bates.”
(Harris, N.A.:3). Harris is referring to the shift in emphasis of the film from
the leading lady to the killer. The start of the movie is completely focused on
Marion’s point of view, but after her murder the emphasis and focus is pushed
onto the killer. This is an effective way of evolving the plot as well as suddenly
shifting the mood and atmosphere of the movie.
Madness is a key element of this film as it seems to define
almost the entire existence of the murderer who is lost in his Oedipus-esque mother
complex which eventually leads him to murder his victims, dressed up in his
mothers attire in an attempt to impersonate her after killing her and her lover
because in his delude state of thinking, no one but him should have her affections.
Hitchcock also during the film tries to get the audience to
understand Norman. As Uhlich states: “"We all go a little mad
sometimes," the young man observes, inspiring Marion to renounce her
kleptomania and take a cleansing shower.” (Uhlich, 2010:3) it almost seems
that Norman tries to find an ounce of madness in everyone perhaps to rectify
his feelings and behaviour and make himself at least seem more normal while
Marion fails to feel alarmed after him claiming to live alone and then speaking
of his ill mother who lives upstairs in the manor. The audience is perhaps then more alarmed and
shocked to find this strange individual becoming far more dangerous than first
anticipated.
Figure 3. Marion in
Car. (1960)
Psycho has a spectacular ways to portray uneasiness in
characters, one example being the widely spread medium of music which is
masterfully used to emphasise growing paranoia as Marion flees in her car and
also foretells the horror of the shower scene when it’s about to happen in the
famous piece of cutting strings which grow faster and faster and louder and
louder right up to the key moment where the high notes become low, the suspense
is lifted and deed is done.
The second medium is the camera, which every now and then
goes on a wander and presents the audience details the characters are not aware
of themselves or it angles in an unusual position, for example the scene where Marion’s
boyfriend interrogates Norman and even though Norman’s face betrays no emotion,
the camera is on a close up from below on his Adams apple and chin line which
nervously bounce up and down in tact with the sweets he is chewing which might
indicate his genius in venting his negative emotions around him as well as his
almost odd lack of disregard for the questions he is being asked. Norman only
starts eating a sweet after it is clear that he is going to be interrogated,
after all.
Altogether, Psycho is a production that touches upon the topic
of mental illnesses and masterfully plays with sound, camera and plot to shock its
audience with scenes of murder but also uses frequent change of sympathies
towards the characters to rapidly evolve the story and build suspense. It
manipulates the audience by using the media available at that time while trying
to conform to the taboos of nudity and violence to deliver a film that was
unlike anything audiences had seen before.
“Hitchcock even didn't
use his trademark technique of building suspense and instead simply shocked the
audience with totally unexpected plot twists, and depictions of violence and
sexual innuendo that was very daring for its time.” (Antulov, 1999:3)
Illustration
List:
Figure 1. Hitchcock,
A. (1960) Norman offers Marion Dinner.
[Psycho Still] Available from: https://fogsmoviereviews.files.wordpress.com/2011/07/pyscho33561.jpg
(accessed: 25/01/2015)
Figure 2. Hitchcock,
A. (1960) Norman’s subtle madness. [Psycho
Still] Available from: http://www.leticiaqueiroz.com/wp-content/uploads/2014/03/psycho-anthony-perkins-as-norman-bates.jpg
(accessed: 25/01/2015)
Figure 3. Hitchcock,
A. (1960) Marion in Car. [Psycho
Still] Available from: http://www.jasonbovberg.com/wp-content/uploads/2013/05/Psycho3.jpg
(accessed: 25/01/2015)
Bibliography:
Antulov, Dragan. (1999) available from: http://www.imdb.com/reviews/221/22159.html
(accessed: 25/01/2015)
Harris, Will. (N.A.) available from: http://www.bullz-eye.com/mguide/reviews_1960/psycho.htm
(accessed: 25/01/2015)
Jenkins, David. (2010) available from: http://www.timeout.com/london/film/psycho
(accessed: 25/01/2015)
Uhlich, Keith. (2010) available from: http://www.timeout.com/us/film/psycho
(accessed: 25/01/2015)
A very nice thorough review Mailin :)
ReplyDeleteAnd I like the fact that Marion 'gets murdered in an iconic way in the shower'.... if you are going to get murdered, iconic is the way to go! :)