Hitchcock Exceeds Anything He's Ever Done

Rating: Null/10 (23 September 2013)

Psycho is recognized for its brilliant direction, ear-grinding score, distinctive performances, haunting cinematography, and tightly equipped editing, but the forgotten asset is the screenplay. None of the other acclaimed aspects could' have been as highly regarded without the source material containing the magic found in the other production values. The script is perfect. Psycho works from the final scene backwards; every scene, every line placed in the film is working toward the goal of the final scene. The rare thing about Psycho's script is the change in structure. Developing the story of Marion Crane, we transition from her character arc to a story about someone else entirely. It fits like a seat belt being latched into the buckle. It's a story of a man who's suffered from repressed sexuality, mental abuse, and loneliness.
Janet Leigh and Anthony Perkins are used to their full potential and create a landmark duo. Leigh pushes her character to act with her humanity; Marion's scenes after her decision to steal the money are built with guilt and fear of getting caught. She's not a bad person, she's a desperate one. The Hollywood style of acting has never been as great as Leigh puts on for us. On the flip side of the acting spectrum, Perkins' work is intricate and open to interpretation in his method style acting. He brings nervous ticks to Norman, such as stuttering and anxiously nibbling on candy. Perkins recreates the word creep in his iconic performance and the final shot of Psycho may live as the apex of his career.
Mise-en-scene is used regularly in Psycho to expose the undertellings of the story. In Janet Leigh's wardrobe, she's seen wearing a white bra in her opening scene. After she decides to steal the money, she's appears in black bras and skirts. This shows she's morphed into a darker character, on her way to becoming an antagonist. After she encounters Norman for the first time, Marion realizes she doesn't want to trap herself in an unwanted life. She decides to return the money, stepping out of the darkness she acquired earlier and steps into the brightly lit, white, pure shower.
The intelligence of Psycho's camera-work, editing, and direction may be appreciated upon the first viewing, but to understand those aspects as all-time greatness and creativity within every shot is to know the final plot twist. Hitchcock uses the lighting to detail the character's faces when they are their most vulnerable and unstable in their statements to other characters questioning them. When Marion is being interrogated by the police officer and the car dealer, lighting can be seen darker with Marion and light on the other characters.
The lighting doesn't stop there, especially with the character of Norman. Some lighting is shot to capture only one side of his face, making his face look half light, half dark (one side is Norman, the other side is Mother). Mirror shots of Norman use his reflection to symbolize Mother, too. When Roman is questioned by the private detective, the light hits his face 100% making it difficult for Norman to hide in the mother's half of his mind. He's trapped explaining his struggle to answer the questions. When the camera has a lower angle, it's Norman answering the questions, but there's a regular close-up, it's mother scrambling to answer the questions. Hitchcock uses backlighting and camera angels to keep the twist of Mother being Norman a secret until the finale reveal.
Psycho may be the seed that first grew many horror phenomenons. The Bates mansion located above the hotel could be the direct reason haunted houses have become a popular attraction and source of entertainment. Alfred Hitchcock's direction is the combining force of all the aspects to make them flow with perfect pitch. Hitchcock creates tension that becomes so intense, it's as if we are living the fear of the characters. The use of musical composition was very influential of horror films, as well. The nails-on-a-chalkboard score startles the picture and is responsible for putting the audience on edge. The editing is tightly strung, in particular with the shower scene. As Janet Leigh has said herself "Each shot cut is like a cut of the knife", each stabbing of Marion is an actual camera cut to the next shot, creating a more violent and aggressive scene.
Props are used in Psycho to tell the backstory of Norman and Mother that's never played out for us to see. The Bates mansion is filled with clues to Norman's childhood, Mrs. Bates' wicked ways, and Norman's methods of becoming Mother. The most important scene in the film takes place in the parlor between Roman and Marion. Not only is that the moment Marion decides to gather her things and give the money back, it tells a lot of Roman's psychology. The use of birds in the film to symbolize Mother's presence is overwhelming and some of the best use of props ever in a film.
Psycho recently was ranked as the 5th greatest film of all-time by Entertainment Weekly. Not only has it skyrocketed in terms of artistic value in my eyes, it's become my favorite film of all- time. Mr. Hitchcock's direction far exceeds anything else he's attempted, working with the cinematographer and the editor to nail the fear and meaning of a perfectly sketched story, brought to life by two contrasting performances that will outlive other iconic portrayals. Though a few of the murder scenes look as a product of the film's time, everything is is made with such effort that Psycho can appeal to audience's interest in entertainment today. Twists have never been sharper with thoughtful tricks and genuine surprise for the audience.
Grade: A+
Rating: 10.5/10