Triumph of Fear

Rating: 9/10 (16 July 2016)

What is so striking about Psycho is how much it differs from Hitchcock's usual stylish thrillers, even in his bleaker work like 'Vertigo'. Made with his TV crew, on a small budget and shot in black and white, the film shares more characteristics with noir and pulp than it does with his grand suspense pieces. In saying that, the film still delivers everything you would expect it to and more. It contains some of the most iconic imagery, characters and shocks ever put on screen. Being more terrifying than it had any right to be. It's Hitchcock holding the audience in the palm of his hand. And now it feels as if every important aspect of the film has become a big part of pop culture.
The best word to describe the film is unnerving. From the moment the plot is set in motion the sense of dread never lets up. Said plot involves Marion Crane, a secretary who steals $40,000 from a slimy customer and leaves town. We get some insight into her actions, mainly her lover Sam having to pay his ex-wife alimony and their inability to marry as a result. It's a classic Hitchcock theme of a normal person caught up in crime. Marion isn't a bad person, just one forced to do something morally wrong which she later regrets. She stops off at the deserted Bates Motel and seems to get along with the quirky but seemingly pleasant owner Norman, which includes a fascinating dialogue scene in his parlour. However, the film turns on its head, as one event completely changes what we thought the film was initially about into something else entirely.
Hitchcock's idea to kill off the leading lady barely halfway through proved to be a brave and ultimately inspired decision. It's a genius choice because it keeps the tension raised throughout. We know that if a main character can be axed off then surely nobody is safe. It is this thought process that provides the suspenseful moments with an added punch that makes them memorable and even more unsettling. They keep us constantly checking over each frame, afraid that anything might leap from the shadows and strike a killer blow. Playing with the audience's uncertainty and understanding just how powerful the feeling of unease can be. Bernard Herrmann's chilling, pulsating score weaves in and out of these scenes, adding even more layers of tension.
Despite becoming famous for its sudden violence and shocks, the film has only a few moments that rely on startling the audience. Yet because these moments aren't overused they retain the fear factor. You see very little blood or wounds or gore that is usually associated with the genre. Most of the scares come from the imagery used and the way tension is built. A good example being the highway policeman who seemingly stalks Marion, with dark sunglasses leaving his face expressionless. The scene at the car dealership is truly frightening, the way in which he simply stares at her from across the street. It's pretty amazing how so much discomfort can be built from not only something so simple but someone who is meant to be a figure of good. He represents Marion's last chance to confess her crime, which would have ultimately saved her life. It shows how much we're invested in Marion's dilemma that we are terrified of her being caught.
What always amazes me is just how well paced and executed the whole film is. There are long passages with minimal dialogue or plot development, where events play themselves out slowly and cautiously. And they remain effortlessly gripping throughout. A good example is Norman disposing of the body. Who'd of thought that a ten minute long sequence of cleaning up a murder scene could be so riveting? The film is deliberately sparse in that sense. A lot of time is devoted to building up the atmosphere and tension, giving us a feel of the characters and the environment that everything is taking place in. However, the dialogue heavy moments are just as engrossing. Any time Bates opens his mouth you can guarantee that something interesting will come out. The tense scene of him being grilled by detective Arbogast is a good example of that.
You have Hitchcock's typical blondes in Janet Leigh as the reserved Marion and Vera Miles as her more inquisitive sister, both elegant and enjoyable to watch. But the truly fascinating character is definitely Norman Bates. What a wonderfully deranged individual. A man who appears to be controlled by his mother. You can tell instantly that something is not right with him. His quirky demeanour hides something disturbed lurking below. A great deal of that is down to Anthony Perkins superb performance. The things he captures complete the character, the way he moves, stammers, smiles, defends his mother, it's all perfectly done. This film very much becomes Norman's story, his actions are what keeps the plot moving forward. He ultimately becomes the character that everyone remembers.
So what ends up making Psycho so memorable? I personally think it is down to how competently made and detailed it is. Hitchcock did something that many films of its ilk miss out on completely, he made the story, characters and scares all hold equal importance. The story is weaved perfectly, which in turn makes us feel something for the characters, and leads to the horror being so much more impactful. It is also the ultimate example of why atmosphere and tension will always beat gore and shock value on the scare scale. This is Hitchcock at the peak of his powers, working with a crew and cast that excel in every area and adding his own faultless direction to the mix. As a result it remains as powerful, gripping and terrifying as it has ever been.