A young woman
Marion Crane (Janet Leigh) plans to marry
her boyfriend Sam Loomis (John Gavin) and
then steals 4,000 dollars from her
employer's client.
She travels away from her hometown of
Arizona by buying a new car with the
money and travels to California one
stormy night stays at a hotel owned by a
young man Norman Bates (Anthony
Perkins) and his eccentric mother who is
supposedly staying inside a tall creepy
looking house and never comes out but
only is heard.
After Norman serves dinner to Marion, she
tells him she has to leave the next day
and then heads back to her hotel room and
has a shower and then the terror begins.
Sam and Marion's sister Lila (Vera Miles)
discovers what Marion has done by
stealing the money and try to find some
way of tracking her down but she is
missing so they try to do some
researching at the hotel along with some
help by a detective Milton Arbogast
(Martin Balsam) as they question Norman
about Marion's disappearance as well as
his mother and why she hasn't left the
house.
They are all in for a deadly surprise
too.
A great beginning with Marion Crane acting romantic with Sam Loomis making them look like a
believeable couple in their room
together.
The discussion between Marion and
a highway patrol officer looked good but a little intimidating
with what this officer was
asking her and having a
very serious look on his face all that
time. Leaves a good psychological feel to it all imagining on being questioned and wondering if he will find out on what she did that could lead to a criminal case.
Theres a nice camera shot on Marion driving on the freeway and thinking about
what people have said to her and then a
good shot on a rainstorm as if she would
get into an accident. This scene looked effective and almost psyching you out along with wondering if she will get into an accident.
There is an intense conversation between Marion and Norman Bates when
they have a discussion in the motel
office together. Norman seems
to act normal and then goes on a weird
story about his hobby and his mother as well as what goes on when she talks about his mother as it leaves a nice mysterious and cringing moment to what was talked about drawing you in more and more on what may happen later on.
Of course there's the classic shower
scene performed byMarion as it
almost looks like a peaceful moment and suddenly a camera shot on the shower curtains with someone coming into the suite she's staying in leaving a nice still chill but
then bang the knife comes down on her. This was my favourite scene and done in superb taste which inspired numerous other horror films to carry this trait.
There is great camera shots on Norman dragging the body to a car
and... well I don't want to spoil it
although many of you knows about it but
Hitchcock really showed nice shots on it.
There's a great scene that will make you
jump when Detective Milton
Arbogast is
walking up a tall staircase in the Bates'
house and when he gets to the top of the
floor BAM!!!
We have a real spooky scene involving
both Lila Crane and Sam with
their discussion with Sheriff Al Chambers as he reveals the truth on
Mrs. Bates making it believeably creepy.
We see an effective discussion between Norman and Sam at the hotel
office which looked good when Sam himself asks him about his mother while Lila tries to go to the home and look for clues which leaves a chill d own your spine when we see on what she spots as well as wondering if anyone will survive or be safe on what will outcome in these scene's. All of this had great mysterious and horror timing too.
Bottom line: What a terrific
horror, suspense and mysterious classic
and the fact that it is B&W makes it
look more appealing but there never were
color movies during that time period
anyways. After all, we're talking about
1960. This film delivers lots of jumps and
frights too with a great set of the old
looking house which makes the film even
more scary. The film is very influential to future
horror film especially the shower scene.
You really wonder what the hell is going
on and who this mother of Perkins is
since you never see her and just hear her
which is bone chilling. Well over 20 decades later 3 sequels
followed that were nowhere as good and
more bloody. Not only that they tried to
make them slasher films. A remake
followed as well.
The acting still
stands out today even if the movie was
made well over 40 years ago. Anthony Perkins (Norman Bates) really made his
character believeable as the psychopath
with a split personality as
he plays off well seeming like a harmless
but troubled chap but if you say the
wrong thing then watch out. He shows terrific intimidating reactions
when someone gives him some advice
about his mother which makes you cringe. Also does well acting uncomfortable when asked about his mother. Shoiws nice insane expressions near the end of his performance.
Janet Leigh (Marion Crane) was great in her role
too as someone who is a little
intimidated on what's going on around
her. She really brought out the realities when she acts uncomfortable with an onscreen officer questioning her as she knew on feeling guilty hiding something. She also shows a nice calm beahvior while talking to someone at the Bates Hotel. Brings a good natured personality.
Vera Miles (Lila Crane) was another great actress
and knows how to be intense and emotional
on set. A terrific reaction on her after she discovers Mrs. Bates as she
shows true shocking intensity.
John Gavin (Sam Loomis) played a nice and
trustworthy guy next door type in the
film.
John McIntire (Detective Milton
Arbogast) played a perfect old
and wise lawman in the film as he was
truly one of the key actors to the film.
Supporting actor Simon Oakland (Dr. Fred Richmond) really
brought great character to his part as
the fellow who discovered the Bates'
history even if his appearance was
towards the end of the film. He shows terrific reactions when he tells
the history behind Norman Bates and his
mother.
No one can forget the
screechy and suspenseful violin music by Bernard
Merrmann which was reused for spoofs
and other neat events too since it was
very effective. He also has that classic
fast violin suspenseful playing during
the opening credits which really stands
out today even.
Highway Patrol officer:
Uh... hold it there. In quite a hurry.
Marion Crane: [nervously]
Yes. Uh... I didn't intend to sleep so
long. I almost had an accident last
night, from sleepiness. So I decided to
pull over.
Highway Patrol officer: You slept
here all night?
Marion Crane: Yes. As I said, I
couldn't keep my eyes open.
Highway Patrol officer: There are
plenty of motels in this area. You
should've... I mean, just to be safe.
Marion Crane: I didn't intend to
sleep all night! I just pulled over. Have
I broken any laws?
Highway Patrol officer: No, ma'am.
Marion Crane: Then I'm free to go?
Highway Patrol officer: Is
anything wrong?
Marion Crane: Of course not. Am I
acting as if there's something wrong?
Highway Patrol officer: Frankly,
yes.
Marion Crane: Please... I'd like
to go.
Highway Patrol officer: Well, is
there?
Marion Crane: Is there what? I've
told you there's nothing wrong, except
that I'm in a hurry and you're taking up
my time.
[starts car engine]
Highway Patrol officer: Now, just
a moment! Turn off your motor, please.
May I see your license?
Marion Crane: Why?
Highway Patrol officer: Please.
California Charlie, used
car salesman: I'm in no mood for
trouble.
Marion Crane: What?
California Charlie, used car salesman:
There's an old saying, "First
customer of the day is always the
trouble!" But like I say, I'm in no
mood for it so I'm gonna treat you so
fair and square that you won't have one
human reason to give me...
Marion Crane: Can I trade my car
in and take another?
California Charlie, used car salesman:
Do anything you've a mind to. Bein' a
woman, you will. That yours?
Marion Crane: Yes, it's just that
- there's nothing wrong with it. I
just...
California Charlie, used car salesman:
Sick of the sight of it! Well, why don't
you have a look around here and see if
there's somethin' that strikes your eyes
and meanwhile I'll have my mechanic give
yours the once over. You want some
coffee? I was just about...
Marion Crane: No, thank you. I'm
in a hurry. I just want to make a change,
and...
California Charlie, used car salesman:
One thing people never oughtta be when
they're buyin' used cars and that's in a
hurry. But like I said, it's too nice a
day to argue. I'll uh - shoot your car in
the garage here.
California
Charlie, used car salesman: [voiceover
while Marion is driving] Heck,
Officer, that was the first time I ever
saw the customer high-pressure the
salesman! Somebody chasin' her?
Highway Patrol officer: I better
have a look at those papers, Charlie.
California Charlie, used car salesman:
She look like the wrong-one to you?
Highway Patrol officer: Acted like
one.
California Charlie, used car salesman:
The only funny thing, she paid me seven
hundred dollars in cash.
Caroline: Yes, Mr Lowery?
George Lowery, realtor: Caroline?
Marion still isn't in?
Caroline: No, Mr Lowery. But then,
she's always a bit late on Monday
mornings.
George Lowery, realtor: Buzz me
the minute she comes in. Then call her
sister - if no one's answering at the
house.
Caroline: I called her sister, Mr
Lowery, where she works, - the Music
Makers Music Store, you know, - and she
doesn't know where Marion is any more
than we do.
George Lowery, realtor: You'd
better run out to the house. She may be,
well - unable to answer the phone.
Caroline: Her sister's going to do
that. She's as worried as we are.
George Lowery, realtor: No, I
haven't the faintest idea. As I said, I
last saw your sister when she left the
office on Friday. She said she didn't
feel well and wanted to leave early; I
said she could. That was the last I saw -
Now wait a minute. I did see her sometime
later, driving - Ah, I think you'd better
come over here to my office - quick!
Caroline, get Mr. Cassidy for me!
[pause]
George Lowery, realtor: After all,
Cassidy, I told you - all that cash! I'm
not taking the responsibility! Oh, for
heaven's sake! A girl works for you for
ten years, you trust her! All right. Yes.
You better come over.
Tom Cassidy, home buyer: Well I
ain't about to kiss off forty thousand
dollars! I'll get it back, and if any of
it's missin' I'll replace it with her
fine, soft flesh! I'll track her, never
you doubt it!
George Lowery, realtor: Oh, hold
on, Cassidy! I-I still can't believe - it
must be some kind of mystery. I-I
can't...
Tom Cassidy, home buyer: You
checked with the bank, no? They never
laid eyes on her, no? You still trustin'?
Hot creepers! She sat there while I
dumped it out! Hardly even looked at it!
Plannin'! And - even flirtin' with me!
Norman
Bates: Dirty night.
Norma
Bates: No! I tell you no! I won't
have you bringing some young girl in for
supper! By candlelight, I suppose, in the
cheap, erotic fashion of young men with
cheap, erotic minds!
Norman Bates: Mother, please...!
Norma Bates: And then what? After
supper? Music? Whispers?
Norman Bates: Mother, she's just a
stranger. She's hungry, and it's raining
out!
Norma Bates: "Mother, she's
just a stranger"! As if men don't
desire strangers! As if... ohh, I refuse
to speak of disgusting things, because
they disgust me! You understand, boy? Go
on, go tell her she'll not be appeasing
her ugly appetite with MY food... or my
son! Or do I have tell her because you
don't have the guts! Huh, boy? You have
the guts, boy?
Norman Bates: Shut up! Shut up!
Norman
Bates: You-you eat like a bird.
Marion Crane: [Looking around
at the stuffed birds while eating]
And you'd know, of course.
Norman Bates: No, not really.
Anyway, I hear the expression 'eats like
a bird' - it-it's really a
[stammers]
Norman Bates:
fals-fals-fals-falsity. Because birds
really eat a tremendous lot. But -I-I
don't really know anything about birds.
My hobby is stuffing things. You know -
taxidermy.
Norman
Bates: Uh-uh, Mother-m-mother, uh,
what is the phrase? She isn't quite
herself today.
Marion
Crane: Wouldn't it be better if you
put her... someplace.
Norman Bates: You mean an
institution? A madhouse?
Marion Crane: No, I didn't mean it
like...
Norman Bates: [suddenly angry]
People always call a madhouse
"someplace", don't they?
"Put her in someplace."
Marion Crane: I'm sorry. I didn't
mean to sound so uncaring.
Norman Bates: What do you know
about caring? Have you ever seen the
inside of one of those places? The
laughing, and the tears, and those cruel
eyes studying you? My mother there?
[subdued tone]
Norman Bates: Oh, but she's
harmless. She's as harmless as one of
those stuffed birds.
Marion Crane: I tried to mean
well.
Norman Bates: People always mean
well. They cluck their thick tongues, and
shake their heads and suggest, oh, so
very delicately.
Norman
Bates: She just goes a little mad
sometimes. We all go a little mad
sometimes. Haven't you?
Marion Crane: Yes. Sometimes just
one time can be enough.
Norman
Bates: Well, a son is a poor
substitute for a lover.
Marion Crane: Why don't you go
away?
Marion
Crane: Thank you.
Norman Bates: Thank you, Norman.
Marion Crane: Norman.
Norman
Bates: Are you sure you wouldn't like
to stay just a little while longer? Just
for talk?
Deputy
Sheriff Al Chambers: Your detective
told you he couldn't come right back
because he was goin' to question Norman
Bates' mother. Right?
Lila Crane: Yes
Deputy Sheriff Al Chambers: Norman
Bates' mother has been dead and buried in
Greenlawn Cenetery for the past ten
years!
Eliza Chambers: I helped Norman
pick out the dress she was buried in.
Periwinkle blue.
Deputy Sheriff Al Chambers:
'Tain't only local history, Sam. It's the
only case of murder and suicide on
Fairvale ledgers.
Officer:
He's a tranvestite!
Dr. Fred Richmond: Ah, not
exactly. A man who dresses in women's
clothing in order to achieve a sexual
change, or satisfaction, is a
transvestite. But in Norman's case, he
was simply doing everything possible to
keep alive the illusion of his mother
being alive. And when reality came too
close, when danger or desire threatened
that illusion - he dressed up, even to a
cheap wig he bought. He'd walk about the
house, sit in her chair, speak in her
voice. He tried to be his mother! And uh
now he is.
[pause]
Dr. Fred Richmond: Now that's what
I meant when I said I got the story from
the mother. You see, when the mind houses
two personalities, there's always a
conflict, a battle. In Norman's case, the
battle is over, - and the dominant
personality has won.
Deputy Sheriff Al Chambers: And
the forty thousand dollars? Who got that?
Dr. Fred Richmond: The swamp.
These were crimes of passion, not profit.
Officer: [enters room with
blanket on arm] He feels a chill. Can
I gring him this blanket?
Dr. Fred Richmond: [Lighting
cigarette] Oh sure.
Police Chief James Mitchell: All
right.
Dr.
Fred Richmond: No. I got the whole
story - but not from Norman. I got it -
from his mother. Norman Bates no longer
exists. He only half-existed to begin
with. And now, the other half has taken
over. Probably for all time.
Lila Crane: Did he kill my sister?
Dr. Fred Richmond: Yes, - and no.
Dr.
Fred Richmond: Like I said... the
mother... Now to understand it the way I
understood it, hearing it from the
mother... that is, from the mother half
of Norman's mind... you have to go back
ten years, to the time when Norman
murdered his mother and her lover. Now he
was already dangerously disturbed, had
been ever since his father died. His
mother was a clinging, demanding woman,
and for years the two of them lived as if
there was no one else in the world. Then
she met a man... and it seemed to Norman
that she 'threw him over' for this man.
Now that pushed him over the line and he
killed 'em both. Matricide is probably
the most unbearable crime of all... most
unbearable to the son who commits it. So
he had to erase the crime, at least in
his own mind. He stole her corpse. A
weighted coffin was buried. He hid the
body in the fruit cellar. Even treated it
to keep it as well as it would keep. And
that still wasn't enough. She was there!
But she was a corpse. So he began to
think and speak for her, give her half
his time, so to speak. At times he could
be both personalities, carry on
conversations. At other times, the mother
half took over completely. Now he was
never all Norman, but he was often only
mother. And because he was so
pathologically jealous of her, he assumed
that she was jealous of him. Therefore,
if he felt a strong attraction to any
other woman, the mother side of him would
go wild.
[Points finger at Lila Crane]
Dr. Fred Richmond: When he met
your sister, he was touched by her...
aroused by her. He wanted her. That set
off the 'jealous mother' and 'mother
killed the girl'! Now after the murder,
Norman returned as if from a deep sleep.
And like a dutiful son, covered up all
traces of the crime he was convinced his
mother had committed!
Norman
Bates' Mother: [in police custody,
as Norman is thinking] It's sad, when
a mother has to speak the words that
condemn her own son. But I couldn't allow
them to believe that I would commit
murder. They'll put him away now as I
should have years ago. He was always bad,
and in the end he intended to tell them I
killed those girls and that man, as if I
could do anything but just sit and stare,
like one of his stuffed birds. They know
I can't move a finger and I won't. I'll
just sit here and be quiet, just in case
they do... suspect me. They're probably
watching me. Well, let them. Let them see
what kind of a person I am. I'm not even
going to swat that fly. I hope they are
watching... they'll see. They'll see and
they'll know, and they'll say, "Why,
she wouldn't even harm a fly... |