Man, this is the weirdest adaptation of A Rose For Emily I've ever seen

Rating: 8/10 (31 August 2014)

A woman with a secret meets a man working at an out-of-the-way motel. He is neurotic but charming, and the two of them decide to eat dinner together. She learns about his problems getting out from under his domineering mother, and encourages him to stand up for himself. And then he stabs her to death.
Psycho works so well not because it is gory or innately terrifying but because it uses the familiar tropes of romantic comedy to set up a string of horrific murders. It suggests that the ordinary people we like or even feel sorry for are just as dangerous as the ones we instinctively fear. Norman Bates' twisted psyche ties together love, violence, and the Oedipal complex -- Hitchcock's favourite themes, perhaps never realized so well.
I've always been something of a Hitchcock skeptic, and Psycho contains its share of the overcomplication and affectedness that often dogs his work. There's a lot of glut here -- the whole plot line of Marian stealing the money, the tedious investigation sequence after the first murder, and the clumsy exposition that puts everything in a neat little box at the end. If Psycho is great, it's not because of Hitchcock but because of Anthony Perkins, who makes Norman Bates somehow pitiable and terrifying at the same time. The scenes he shares with Janet Leigh are captivating, and more than make up for the less memorable material surrounding them.
Psycho may not live up to its reputation, but it's still well worth a look. You won't get a more pure exhibition of Hitchcock's obsessions than this, and you're not likely to see a better performance anytime soon.