Don't Make a Scene: Psycho (1960)

The Story: For all the gymnastics Alfred Hitchcock puts the cinema through in Psycho—the crazy angles, the precipitous dolly-shots, and the jagged, ginzu-hack editing of the shower murder scene, the scariest move—the most disturbing—maybe the penultimate shot before the end. And it's a simple, relentless trucking move forward, one of the earliest inventions of the cinema, at least when someone figured out how to put wheels on a camera.

 

Add to that the subtle acting of Anthony Perkins—the self-contained quick eye movements, the hint of a smile, the worried-mother furrowed brows. That final smile that lived on in other people's films.

Hitchcock, after making the blockbuster North By Northwest for M-G-M, went back to his Paramount contract to fulfill its last film and had been noticing the large box-office of small budget horror films (I strongly suspect they were made by William Castle as he didn't consider them very good) and thought "what if someone made a GOOD one?" And about that time, he read the reviews for Robert Bloch's book "Psycho" and decided that would be his next project.

The studios he approached with the idea wouldn't finance such a horrific project, but Hitchcock figured "why not? If they can make a success of a low budget horror film, so can I." So, he mortgaged his house, bought the film rights, decided to make it in black-and-white (lest it be too gory—besides Castle did it!) and filmed it with his television crew from "Alfred Hitchcock Presents" and made the film as he wanted. He filmed on the Universal Studios back-lot (cheaper that way) for a Paramount Pictures release. And to toss in a stunt akin to William Castle's little theater pranks, he based his ad campaign on a stipulation: NO one would be seated in the theater after Psycho had begun. It was a strict rule—after all, anybody coming in 40 minutes into the film would wonder where Janet Leigh figured into all of it. Such a thing only created "buzz" about the film, and as long as it got curious people into theaters, what could it hurt? At least he wasn't flying skeletons around in the theater or wiring peoples' seats with joy-buzzers as Castle had. 

So, William Castle begat Alfred Hitchcock making Psycho. But, there's another "begat" in the process. I think Psycho begat "The Kubrick Stare"* where one of his protagonists would lower their gaze while addressing the camera with a stare, a grin, a look of horror, or triumph, or of malevolence. And it started with Anthony Perkins and the penultimate shot of Psycho.

One could look at the history of cinema as one long chain of innovation in dramatic communication from The Great Train Robbery to the present day. Everybody borrows from someone. Some just borrow more artfully than others.

 

SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS! SPOILERS!

 

If you haven't seen Psycho (and the film is 64 years old! There's gotta be a Statute of Limitations SOME-time!), then read no further because the rest of the article is going to spoil ONE of the surprises in Alfred Hitchcock's first out-and-out horror film. But, one has to say, the culture is so festooned with Psycho references that if you are capable of being surprised, then I'd like to sub-let the rock you've been hiding under for the next four years.

No. Truly. All kidding aside. From here on out, this post is going to be spilling beans just like Bush's elderly great-grandmother, Lima (and she uses a walker!).

So, if this post spoils Psycho for you—don't say you weren't warned!

The Set-Up: The disappearance of apparent embezzler Marion Crane (Janet Leigh) leads her lover (John Gavin) and sister (Vera Miles) to her last known location, the Bates Motel, run by Norman Bates (Anthony Perkins) and his invalid mother (Virginia Gregg). Fearing the worst, Marion's sister explores the Bates house and is attacked by a mad-woman, who turns out to be actually Norman Bates. Norman is institutionalized for Marion's murder, but, now his personality is completely taken over by the persona of his dead mother, whom he also murdered years ago.

 

Action.

 

INT. NORMAN'S DETENTION ROOM - (NIGHT) The walls are white and plain. There is no window. There is no furniture except the straight-back chair in which Norman sits, in the center of the room. The room has a quality of no-whereness, of calm separation from the world. The Police Guard has placed the blanket on Norman's knees. Norman, as we come upon him, is lifting the blanket, unfolding it. His face, although without makeup and without the surrounding softness of the wig, has a certain femininity about it, a softness about the mouth and a kind of arch womanliness about the brows. 

Calmly, Norman places the blanket about his shoulders, as if it were a cashmere shawl. CAMERA REMAINS in a position so that our view of Norman is a FULL ONE. When the shawl is in position, and Norman is settled, we HEAR, OVER SHOT, the voice of his mother, coming from the calm of his thoughts.

MOTHER'S VOICE (O.S.) 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. (A pause) 

MOTHER'S VOICE (V.O.) 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. 

MOTHER'S VOICE (V.O.) As if I could do anything except just sit and stare... like one of his stuffed birds. (A pause) 

MOTHER'S VOICE (V.O.) Well, they know I can't even move a finger. And I won't. I'll just sit here and be quiet. 

MOTHER'S VOICE (V.O.) Just in case they do... suspect me. 

A fly buzzes close, and then continues buzzing and flying about Norman's face. 

MOTHER'S VOICE (V.O.) They're probably watching me. 

MOTHER'S VOICE (V.O.) Well, let them. 

MOTHER'S VOICE (V.O.) Let them see what kind of a person I am. 

(A pause, as the fly lights on Norman's hand) 

MOTHER'S VOICE (V.O.) I'm not going to swat that fly. 

MOTHER'S VOICE (V.O.) I hope they are watching. 

MOTHER'S VOICE (V.O.) They'll see... they'll see... and they'll know... 

MOTHER'S VOICE (V.O.) and they'll say... 

MOTHER'S VOICE 'why, she wouldn't even harm a fly...' 

Norman continues to gaze ahead into nothing. 

SCENE BEGINS TO DISSOLVE SLOWLY TO: 

THE SWAMP As END TITLES FADE IN, we see the swamp, the chain of a tow- truck.

The chain is attached to Marion's car. The car is coming out of the swamp.

 

Psycho

 

Words by Joseph Stefano

 

Pictures by John L. Russell and Alfred Hitchcock

Psycho is available on DVD, Blu-Ray and 4K Ultra HD from Universal Pictures Home Entertainment.

*

Don't Make a Scene: Psycho

The Set-Up: Happy Mother's Day!

I must be a horrible person because when I think of doing a Mother's Day post, the first movie I think of is Psycho. Sure, I could do Terms of Endearment, but isn't it the same thing, but without cutlery?

So, I could do Mildred Pierce, or Stella Dallas, but those are pretty sad, so I don't "go" there. Now, I usually gravitate to Hitchcock, who had LOTS of mothers in his films—maybe next year, we'll have one of those hilarious Jesse Royce Landis scenes.

But, for now, Psycho, and the first appearance—close-up and without obfuscation —of Norma Bates, mother of Norman, who has been doing all sorts of invasive things to people at the Bates place. It is one of my favorite camera moves in a Hitchcock film, one of those directorial feints to keep the audience clueless, but still on the edge of their seats.

It's a fairly complex camera move (especially with heavy 1960's camera, and without the benefit of lightweight photography and CGI enhancement) up the stairs to hover over the conversation from an open door and, then, to look down on the two involved in argument, walk across the landing (a camera composition we've seen before, just a few moments ago) and down the stairs.

It's steady and fascinating to watch, if making one wonder why we're watching this rather ornate dolly shot. But, the fact that it's a dolly shot is less important (other to distract us), it's there so we can look down at Norman Bates carrying his crazy mother across the second story landing and down the stairs. Why, are we doing this? Well, that would be telling...except we had just learned (in the preceding scene) that Norma Bates is dead and buried, and has been for years.

 

So, what's going on here? Just a director doing more than directing actors, but directing the audience, as well.

 

The Story: It hasn't been "the busy season" at The Bates Motel, but business HAS picked up. Some people HAVE been checking in.

The problem is they don't seem to check out. It doesn't do anything for repeat business. There's amateur extortionist Marion Crane (Janet Leigh), and then there's the detective, Milt Arbogast, (Martin Balsam), who's been hired to find her. Things are starting to circle around The Bates, and loyal son Norman (Anthony Perkins) is taking some precautionary measures, moving his mother (Virginia Gregg and Jeanette Nolan)  before any more guests arrive.

 

Action.

 

EXT. MOTEL AND HOUSE - (NIGHT)

Norman comes off the porch, walks to the path 

and directly up to the house, opens the door and goes in. 

CUT TO: INT. DOWNSTAIRS HALLWAY AND STAIRWAY - (NIGHT) 

SHOOTING UP THE STAIRS 

Norman goes up, 

pauses one moment outside his mother's door, then opens it and goes in, leaving the door open. 

For a moment we hear only Norman's low, quiet voice, his words indistinguishable. Then we hear the cold shot of his mother's derisive laughter. 

MOTHER'S VOICE I am sorry, boy, but you do manage to look ludicrous when you give me orders! 

NORMAN'S VOICE Please, mother... 

MOTHER'S VOICE (Sharp, laughter all gone) No! I will not hide in the fruit cellar! (A shrill laugh) Think I'm fruity, huh? 

MOTHER'S VOICE (Hard, cold again) I'm staying right here! This is my room and no one will drag me out of it... 

MOTHER'S VOICE ...least of all my big bold son! 

NORMAN'S VOICE (Rising now, anxiously) They'll come now, Mother. He came after the girl and now someone will come after him! 

NORMAN'S VOICE How long do you think you can go on... Mother, please, just for a few days, just so they won't find you! 

MOTHER'S VOICE (Mimicking) Just for a few days... (Furious) In that dark, dank fruit cellar? 

MOTHER'S VOICE No! You hid me there once, boy, and you won't do it again! Not ever again! Now get out! (A pause, quiet) 

MOTHER'S VOICE I told you to get out, boy! (A longer pause) 

NORMAN'S Voice  I'll carry you, mother...

MOTHER'S VOICE Norman! What do you think you're going to do doing? Don't you touch me! Don't! 

MOTHER'S VOICE Norman! (A pause, then cajolingly) All right, son, put me down and I'll go. I'll go on my own two feet. I can go on my own two feet, can't I? 

During all this the CAMERA has been slowly creeping up the stairs. It does not stop at the top however, but continues on the same high angle that we had in Scene 57. 

She starts to laugh, a terrible sound like an obscene melody. 

NORMAN'S VOICE I'll carry you, mother. 

Norman comes out of the room, 

his mother held in his arms, her head leaning against his shoulder.

MOTHER'S VOICE Put me down!

MOTHER'S VOICE Put me down! I can walk on my own!

He carries her down the stairs, along the lower landing to the cellar stairs, and then down those stairs to the basement. 

DISSOLVE TO:

 

Psycho

 

Words by Joseph Stefano and Robert Bloch

 

Pictures by John L. Russell and Alfred Hitchcock

 

Psycho is available on DVD and Blu-Ray on Universal Home Video.

 

I couldn't find the actual scene from the 1960 version
But, here's Gus Van Sant's recreation—using the original script—from 1998.