Hitchcock's decision to shoot in black and white lends the film a sense of intimate voyeurism, and the mise-en-scene is incredibly detailed. The scene of Vera Miles scavenging through the Bates' home is one of the greatest in film history. Also, Janet Leigh might be the first person to ever say "I'll lick the stamps" as a term of endearment.
Yep, I do have to watch this again. Because, unlike... everyone I know, I don't really like Psycho that much. And I want to understand if it's because the film is so good that it makes me unconfortable, or because I just don't identify with what it's about.
Analiticamente misterioso desde a aproximação superficial do cliente, a passar pela conversa com o polícia e o frame de captura da cara dele, até ao dono do Bates Motel. Sempre ansioso depois da chegada de Janet, deixa-a nervosa e assustada com a circunstância sinistra em que ela se coloca. Antecipa-se o mistério certo mas com a intuição errada. Conta com a ajuda duma banda sonora terrivelmente boa para a produção!
I was torn between a 4 and 5-rating on this one. I realized because of my over-familiarity with it, I was shortchanging its contributions to the genre ... and even cinema in general!!! Anthony Perkins is brilliant in this! And what Hitchcock does with both precision AND minimalism should be studied. In today's era of overindulgence in every capacity, Hitch is the Master in regards to Economy of Story!
A classic. I honestly had no memory of the touching scene in which Vera Miles explores the stunted adulthood of Bates' playroom/bedroom; and what does she see in that untitled book that makes here eyes widen? I also love the little secrets of the film, the slight tinge of red in the water as it makes its way toward the shower plughole, or the mother's wizened corpse face underlaid on Bates's own at the film's close.
The first 45 minutes is perfect and almost surprisingly humane for Hitchcock as he avoids characterising Norman Bates as a complete psychopath. I felt sorry for him as he was talking to Janet Leigh. Everything was so good. And then, Hitchcock realised he needed it to be longer so he padded it out with WHO GIVES A SHIT characters and plot twists that even blind man could see coming. It's so mundane and boring.
Some Hitchcock films (N by NW, Rear Window, Rich & Strange) wax with new delights with each subsequent reviewing, but even those that have somewhat faded (for me) with long exposure have such intense 'spots of time' that grow the more mysterious the more familiar they become: what is it about Vera Miles searching the three floors of the Bates home that keeps me in such thrall, the spell only growing the more potent?
Psycho is rattled with tension and unease. People will be analyzing the film for centuries trying to figure out its mystery. What makes Psycho so damn tantalizing? The internal dialogue in our characters. We find it in Norman with his mother, Marion with her own demons, and us, the audience, when we debate how much we love this movie.