Phoenix office worker 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 forty thousand dollars 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.Written by
Col Needham <email@example.com>
In 2008, Marion Cotillard re-enacted the shower scene in a photoshoot for Vanity Fair. Cotillard shares the same first name of Janet Leigh's character in this movie: both are called Marion. See more »
Janet Leigh's body double is obvious when Norman is pulling Marion from the tub onto the shower curtain; the dead woman has painted toenails while Janet had clear nails during the stabbing shots. See more »
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.
Did he kill my sister?
Dr. Fred Richmond:
Yes, - and no.
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When "Psycho" appeared in syndication on TV stations such as WOR-TV, sometimes a print was shown that completely excised the portion of the movie where Marion tries to exchange her car, cutting from when she gets sleepy and pulls over for a nap, to when she pulls into the Bates Motel. See more »
Robert Bloch wrote the original work, Joseph Stefano adapted it into a tight screenplay but it was Alfred Hitchcock with the extraordinary complicity of Bernard Herrmann who transformed this lurid tale into a classic, horror masterpiece. The score propels us into the moment before the moment arrives provoking the sort of anticipation that verges on the unbearable. The fact that the key scenes have become iconic film moments: copied, imitated, emulated and parodied, have not diminished its impact, not really. The anticipation, underlined by Herrmann's strings, creates a sort of craving for the moment to arrive. That doesn't happen very often. No amount of planning can produce it or re-produce it - otherwise how do you explain the Gus Van Sant version - so, the only possible explanation is an accident, a miraculous film accident and those do happen. Everything falls into place so perfectly that even the things that one may argue are below the smart standard of the film, are needed, the film without every frame is not quite the film. Try to turn away after the climax during Simon Oakland's long explanation. You can't. I couldn't. Partly because you know you'll soon be confronting those eyes, that fly, the car...
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