After 22 years in the
insane asylum, Norman Bates (Anthony
Perkins) is considered sane again and
released going back to his house and
hotel as well as working at a local diner
where he meets up with a beautiful woman
named Lila Loomis (Vera Miles) but
however he is getting strange messages as
if his mother was still alive leaving
nasty threats wherever he goes.
He also realises that Lila is Marion
Crane's sister although she makes out
that she's trying to help him is trying
to convince him that he's still insane
along with her wicked mother Mary (Meg
Tilly) while they stay at his resort and
house committing some murders there
dressed as his mother.
Bates' shrink Dr. Bill Raymond (Robert
Loggia) tries to help him keep his sanity
but it might be too late as already he's
convinced that his mother is still alive.
UGH! This film
doesnt NOT deliver like in the first one
as there never should have been a sequel
if it was going to look this bad making Hitchcock
look bad.
It was stale and boring to begin with but
it is still psychological watching
someone trying to get sane again go
insane with what is going on and still
very mysterious but apart from that this
one bites and goes nowehere.
Ignore this piece of junk.
The acting is very
plain and outdated for the era it was
done in. Anthony Perkins returns
as Norman Bates but isn't the same like
he was in the first film but yet can
still act disturbed during some parts of
the film.
Vera Miles seems to present
herself not too bad as the deceivingly
nice one in the film trying to help him
out.
Meg Tilly comes across well at
being the wicked one in the film but
needed a bit of a push in some spots.
Robert Loggia seemed to perrom
well as a psychiartrist in the film with
his serious attitude.
Hugh Griffin seemed to stand out
the most as a tough Sherrif showing good
attitude.
There is a brief
breast and butt shot on Vera Miles
while taking a shower.
Blood starts flowing out of
a toilet
A
knife is plunged through a woman's mouth.
Richard
Franklin is quite rough with his
direction for this film but he does show
many interesting scenes like
with Anthony Perkins being
questioned in a court with bit part
actors Ben Hartigan as a judge
as well as Lee Garlington griping
about him being released from his asylum.
There's a good dispute between Perkins
and supporting actor Dennis Franz
in a hotel office when Perkins
fires him and Franz starts
insulting him.
A nice shot on Perkins standing
on the top of the stairs looking at his
phone as well as showing disturbed
expressions when he stares at the door
thinking of his mother.
There's a good dialogue between Perkins
and Vera Miles standing outside
at night after work when she is upset
about her boyfriend dumping her and has
nowhere else to go and Perkins offers
her to stay at his hotel making out he's
not such a bad person after all.
A good shot on Perkins opening a
cupboard looking for some tea at his
house along with a good dialogue with
Miles.
There's a suspenseful shot on Perkins
as he uses a knife on some lettuce
looking disturbed as well as the close up
shot on him cutting it. in a restaraunt
Good angle shots on Miles at the
restaurant as well as Franz sitting
at the table mocking her although the
dialogue looks very cheesy.
A good shot on Perkins bursting
out of the kitchen room as well as him
staring at a sharp knife next to a cut
piece of cake wondering if he is going to
go crazy again.
A good distant shot on Franz
shouting obscenities while Perkins
is staring out at his window of his
house.
There's a good close up shot on a hand
with a kitchen knife raised in the air
along with Franz screaming but
the setting looks too obvious.
There's a good close up shot on
supporting actors Tim Maier and Jill
Carroll as teenage trespassers
trying to escape up in a window of a
cellar falling over some logs with a
killer closing in as well as a good shot
on Maier's hand scraping against
a window while being stabbed.
Hugh Gillin made a good
impression as a Sheriff questioning both Perkins
and Miles about a murder in the
cellar.
A good shot on Miles climbing up
a chair and looking in a peephole in a
wall with a good shot of an eye staring
at her and she jumps.
Perkins does well putting his
head down and loosing his mind thinking
his insanity is coming back again yet at
the same time is a little overly done.
A good disturbed look on Perkins' face
when he answers the phone thinking that
he is talking to his mother and Miles
goes on the other line in his house
demanding for him to hang up.
There's a moment with Perkins
keeping Miles in a room to keep
her safe from mother demanding her to
stay put which looks awfully cheesy but
then there's a good moment when he turns
around and acts very intense when he
doesn't believe something she says to
him. There's also a good shot on Perkins
holding up a knife showing Miles
sleeping.
There is a good intense quarrelling
between Miles and Meg Tilly
as her mother in a hotel lobby when Miles
idly threatens her to leave Norman Bates
alone.
There is a good dialogue on Robert
Loggia talking to Perkins
about two women trying to make him go
crazy as he shows a very serious attitude
about this.
A nice shot on Perkins coming up
from behind Miles telling him
what he heard almost sounding
intimidating and not impressed while she
is cooking something as you wonder if
he's going to do some damage.
There's a good shot on Tilly walking
up the stairs to the house as well as a
good close up shot on her screaming in
the cellar when the killer is about to
get her but her screaming sounds very
fake.
Miles does well dressed up as
the psycho killer Mom trying to talk to Perkins
thinking that he's on the phone with
his Mom as she tries to convince him that
his Mom is dead and then later on does
well by slowly walking towards her and
good shots on her swinging the knife at
him and hitting his hands etc.
The composer is fairly
descent with his strong piano playing
along with some violin music (But not the
creepy intense violin playing like in the
first one) as well as some dark keyboard
playing by Jerry Goldsmith
Dr.
Raymond: Norman was not convicted of
murder. He was found not guilty by
reasons of insanity, and since he is no
longer insane, he has the right to live a
normal life like you and I.
Norman Bates:
I don't kill people anymore.
Warren
Toomey: At least my customers have a
good time! What do yours get, Bates? Huh?
Dead! That's what! Murdered by you, you
loony!
Norman
Bates: Would you care to share my
toasted cheese sandwich?
Mrs. Spool: No thank you.
Mary: Can I use your phone again?
Norman Bates: Sure. Who you're
gonna call?
Mary: Uh, I just remembered of a
girl friend I have in town, well, she's
sort of a girl friend, but maybe she'll
let me spend the night at her place.
Norman Bates: I thought you were
going to stay here. You're more than
welcome to stay, there's a free room
upstairs.
Mary: I don't think that's a good
idea.
Norman Bates: Why?
Mary: Look, I don't wanna hurt
your feelings or anything, but Myrna
talked about you on the Diner today. Mrs
Spool told her to shut up but she didn't.
She said you've been locked up.
Norman Bates: [upset] Did
she tell you why?
[Mary nods no]
Norman Bates: Well I'll tell you.
When I was little, I had a fight with my
mother, so I put some poison in her tea,
you know. But I'm all right now.
Mary: You sure?
Norman Bates: Sure! Otherwise they
wouldn't give a job on a diner would
they?
Mary: I don't know, it takes a nut
to work there.
[Mary fishes out a blood-soaked
towel from the toilet that overflows with
blood]
Mary: Jesus! How'd that get in
there?
Norman Bates: After I killed that
kid, I used that towel to clean up the
mess, and then I stuffed it down there.
Mary: Norman, you coudn't have
killed that kid. You were locked in the
attic.
Norman Bates: It wasn't locked!
You said so yourself.
Mary: Norman, stop talking
nonsense! I'm telling you, you did not
kill anyone.
Norman Bates: Then how do you
explain all this blood?
[Mary does not reply]
Norman Bates: [shouts]
WELL?
Mary: I can't. I mean... I don't
know.
Mary: [to Lila] I think
there's someone else in the house.
Mary: Norman, what's wrong?
Norman Bates: It's starting again.
Norman Bates: Mary, I'm becoming
confused again, aren't I?
Mary: Of course not.
Norman Bates: [holding the
knife] Don't lie to me! Not you!
Mary: Yes, Norman... you are
becoming confused again.
Norman Bates: Where did you get
that gun?
Mary: Uh... my mother gave it to
me.
Mary: You could stop stuffing
bloody towels in toilets and peering
through peep-holes in the wall.
Lila Loomis: What are you talking
about?
Mary: The things you're doing to
Norman.
Mary Samuels/Mary Loomis: Then who
did it?
Norman Bates: My mother did, she
told me so herself.
Mary Samuels/Mary Loomis: Oh
Norman... You're mad don't you know that?
You're as mad as a hatter.
[the telephone rings]
Norman Bates: Should I answer it?
Mary Samuels/Mary Loomis: Why
bother? It's only my mother. She
shouldn't be calling she should be
sitting back and gloating.
Norman Bates: I better answer it.
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