Psycho (1960) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error From $2.99 (SD) on Amazon Video ON DISC A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother. Director: a list of 32 titles created 06 Feb 2011 a list of 21 titles created 09 Oct 2013 a list of 24 titles created 09 Jul 2014 a list of 30 titles created 12 Sep 2014 a list of 41 titles created 9 months ago Search for " Psycho " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 4 Oscars. Another 5 wins & 9 nominations.

See more awards » Videos A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder. Director: Alfred Hitchcock A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her. Director: Alfred Hitchcock A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future. Director: Stanley Kubrick A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive. Director: Alfred Hitchcock A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients. Director: Milos Forman A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people. Director: Alfred Hitchcock In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.

Director: Michael Curtiz A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. Director: Jonathan Demme Following the death of a publishing tycoon, news reporters scramble to discover the meaning of his final utterance. Director: Orson Welles 1 2 3 4 5 6 7 8 9 10 8.3/10 X In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan. Director: Stanley Kubrick An insane general triggers a path to nuclear holocaust that a war room full of politicians and generals frantically try to stop. Director: Stanley Kubrick A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.

Director: Martin Scorsese Edit Storyline Phoenix officeworker 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 $40,000 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 <col@imdb.com> It Is _Required_ That You See Psycho From The Very Beginning! See more » Genres: 8 September 1960 (USA) See more » Also Known As: Alfred Hitchcock's Psycho See more » Filming Locations: Did You Know? Trivia Janet Leigh received threatening letters after the film's release, detailing what they would like to do to Marion Crane. One was so grotesque she passed it on to the FBI.

The culprits were discovered, and the FBI said she should notify them again if she ever received any more letters. See more » Goofs At the car dealership, the same extras (people on the sidewalks) are seen repeatedly, walking in different directions See more » Quotes Marion Crane : Do you have any vacancies? Norman Bates : Oh, we have 12 vacancies. 12 cabins, 12 vacancies. Opening credits prologue: PHOENIX, ARIZONA FRIDAY, DECEMBER THE ELEVENTH TWO FORTY-THREE P.M. See more » Connections (Corvallis, Oregon) – See all my reviews When you look up the phrase "Horror Film" in the dictionary .. a picture of Janet Leigh screaming in a shower should appear next to it. Undoubtedly, Psycho is the greatest horror film ever made, bar-none. The story is incredible. The acting is near perfection. The cinematography is godly. The soundtrack is perfect. It's hard to find anything wrong with Psycho. Perhaps the only imperfection I can find with Psycho is the inability to stand the test of time.

One of the reasons the shower scene has become so notorious is that it's not only filmed to perfection, but because the elements of sexuality and murder are so surreal. In 1960, seeing a nude women being murdered in a shower was something that no-one had experienced yet, and was quite shocking. Nowadays, seeing Jason double-spearing two lovers having sex is nothing uncommon. I envy those who experienced Psycho in 1960 in the theaters .. those experienced the full terror of Psycho. Aside from this though, the movie is flawless. I won't even go into to how incredible the cinematography is. One thing I think people seem to forget about the movie is the incredible soundtrack. Sound is such an important element in movies and Psycho is undaunted when it comes to sound. The only other horror movie that even comes close to using sound with such perfection is Halloween (1978). The movie is perfectly casted as well. Janet Leigh as the beautiful Marion Crane, Vera Miles as the concerned sister, Lila Crane, and of course the unforgettable performance from Anthony Perkins as the eerie yet charismatic Norman Bates. I would recommend this movie to any horror movie film fanatic.

I would especially recommend this movie to any horror movie fan not desensitized by Friday The 13th, Nightmare On Elm Street, or Scream .. if such a fan exists. 223 of 289 people found this review helpful. Was this review helpful to you? Yes Universal City : An Image Gallery - Psycho House and Bates Motel a RetroWeb Studio Backlots website Psycho House and Bates Motel Alfred Hitchock's 1960 cinematic masterpiece Psycho, although originally distributed by Paramount, was financed by Hitchcock himself, and filmed at Universal Studios using the Revue Studios television crew from Alfred Hitchcock Presents. It was filmed on a tight budget, and accordingly, the exterior sets built for the film...the Bates Motel and home...were partly constructed from studio "stock units," including in the case of the Bates home, a tower and front wall portion borrowed from an existing house set on the backlot's Colonial Street. The Bates home, or "Psycho House" as it has come be known, was built as a two-walled exterior facade, as it would be filmed only from a vantage point within a 90 degree span.

The "Psycho House" became an iconic symbol of eerieness, and has appeared in countless films (including two Psycho sequels), television shows and advertisements. The set still stands on the Universal backlot fifty years later, although modified and twice relocated over the years. The original Bates Motel set no longer exists, but a reconstructed version of the motel has accompanied the home on the backlot and as a part of the studio tour for decades. The Bates home from Psycho The Bates home as seen in the film. The set for Psycho's Bates home in the early 1960's Psycho's Bates home set is seen here as originally constructed, with no right-side or rear wall. courtesy Bison Archives The "Harvey" House on Universal's "Colonial Street" The tower section of the Harvey/Allison House on the backlot's "Colonial Street" was removed in 1959 and used in the construction of the Bates home set for Psycho.

courtesy Bison Archives Bates home (with "Mother" in window) Alfred Hitchcock and Bates home set - from the film's trailer Alfred Hitchcock and Bates Motel - from the film's trailer Psycho House Set and Laramie Street mid-1960's The Psycho house is seen here in the mid-1960's, now with a right-side wall which was constructed specifically for the set's appearance in the 1964 film Invitation to a Gunfighter. courtesy Bison Archives (thanks to Dennis Dickens for Invitation to a Gunfighter details) The Psycho House in the 1965-66 television series Laredo scan courtesy Francesco Nigro Rear view of Psycho House in 1971 This photograph of the rear of the Psycho house set was shot in 1971 courtesy of and Copyright © Nguyen Ngoc Chinh from his Flickr photostream - used with permission The Psycho House in the early 1970's courtesy Francesco Nigro Psycho House Set in the Night Gallery installment "A Question of Fear" (1971) The Psycho house, including a bat added by animation, is seen here in 1971 in the TV series Night Gallery.

(this image has been heavily brightened from its original appearance, which was essentially a silhouette...hence its grainy appearance) Psycho House Set in Emergency! episode "Brushfire" (1972) The Psycho house, including the road which ran between the Bates Motel and the house, is seen here in 1972 in the TV series Emergency!. Psycho House Set in the mid-1970's The Psycho house is seen here in the mid-1970's, still in its original location on the backlot, above Laramie Street.

courtesy Bison Archives A restored Psycho House in the 1976 mini-series Captains and the Kings The Psycho house is seen here after a restoration and the addition of a larger, wrap-around porch, both for the 1976 mini-series "Captains and the Kings" scan courtesy Francesco Nigro Psycho House in May, 1979 This photograph of the Psycho house set in its original location was shot on May 26, 1979 courtesy of and Copyright © Piet Schreuders from his Flickr photostream - used with permission (see a similar photo on Flickr shot by Joseph Butindari two years later) Psycho House in 1980 Psycho House being dismantled in December, 1980 After occupying the ridge above "Laramie Street" for over twenty years, the Psycho House was dismantled in December of 1980, and later reassembled elsewhere on the lot for the filming of Pyscho II (1983).

courtesy of and Copyright © Mark Brindle - used with permission Psycho House Replica in Modern Problems (1981) For the 1981 Chevy Chase comedy Modern Problems, a somewhat convincing replica of the Pyscho House was constructed along a beach. Many, including the author of this web site, have initially believed this to be the original set transported to a beach and reassembled for the film, but detailed comparison of house features and proportions reveals that this is in fact a replica. (thanks to John Trimble and Francesco Nigro for their observations on this subject) Psycho House during repairs in July, 1982 This photograph of the Psycho house was shot on July 9, 1982 while the set was partially assembled outside the backlot's carpentry shop for repairs. courtesy of and Copyright © Douglas Hill - - used with permission Universal Studios Florida Bates Mansion set for Psycho IV (1990) - July, 1993 This photograph of a duplicate Bates Mansion set at Universal Studios Florida was shot on July 12, 1993. The set was demolished in 1998.

courtesy of and Copyright © John Burke from his Flickr photostream - used with permission More Photos of the Psycho House and Bates Motel (scans courtesy Bison Archives) (after clicking on a thumbnail, you may use the left & right arrow keys to navigate from one enlarged image to another) Psycho House set circa 1960 Psycho House in 1980 Bates Motel: Ranking the Psycho Films | Den of Geek Search Bates Motel: Ranking the Psycho Films In celebration of Bates Motel's return, we rank all of the Psycho films from worst to best. Yes, even that remake.... tumblr The third season of A&E’s Bates Motel is here, and it looks to be its best season yet. With many people eager to soak up as much Psycho as possible before the premiere, it wouldn’t be in poor form to rewatch Alfred Hitchcock’s classic. However, a lot of folks are unaware of the fact that Hitchcock’s film saw several sequels exploring the aftermath of Norman Bates meeting Marion Crane. In honor of Bates Motel re-opening its door for vacancy, we thought we’d look at each of the entries in the Psycho franchise and rank them from the worst to the best.

Bates Motel (1987) Technically taking place post Psycho III, and as if Psycho IV never happened, this failed pilot-turned TV movie sees Norman leaving his motel to Alex West (Bud Cort), a man he spent time with in the insane asylum for killing his stepfather. After Norman’s passing, and Alex inheriting the place, he tries to get the motel up and running again. Of course, strange things begin to happen and maybe this wasn’t a good idea after all… While this is hardly fundamental viewing, and arguably a lot of people don’t even know that it exists, it’s still interesting enough to check out. It doesn’t do much to complement the films and its connection to them is tenuous at best, but Bates Motel still has its moments in a campy sense. Psycho IV: The Beginning (1990) What we have here is quite the messy prequel. The film has tons of continuity errors. Seriously, there are flubs like Norman’s dad dying from bee stings rather than Norman’s hand. It’s full of mistakes and feels disconnected from the first three films, which is kind of surprising considering the screenwriter of the original Psycho, Joseph Stefano, returned to write this.

I mean, we barely get Norman as Norman, and clunky backstory films like this (see also: Hannibal Rising) are seldom satisfying, especially when you demystify them so much. The film operates around the pretty forced framing device of a radio show on matricide that could have been a hundred different things instead. It’s really just a conduit to jump through Norman’s life, but it works well enough. Even though this is largely dismissible, there are still some interesting ideas being played with like the big one of Norman’s wife (yeah) getting pregnant. Norman calls into this radio show and announces that he’s going to kill her because he doesn’t want a son with his genes to be put into the world. Basically, Norman killing his wife eliminates this larger evil from happening. That’s pretty great when you think about it, as is the visual of Norman burning down his house at the end of all of this. But other than that, you just have a lot of flaming wreckage. Psycho (1998) It’s perhaps not the worst idea out there to remake Hitchcock’s Psycho.

A lot of his near-flawless films like The Birds, Rear Window, and most recently Strangers on a Train, have either been or are about to be remade, so why not Psycho? What perhaps isn’t the best idea is remaking the film as a shot-for-shot recreation of the original. This is exactly what Gus Van Sant did (while also adding color), in what otherwise felt more like an experiment for himself to see if he could pull it off. Just because you can, doesn’t mean you should. Really, the only redeeming factor is the only element that’s different: the cast. The performances might not make this experience worthwhile in the end, but they are certainly thought provoking. For instance, Vince Vaughn as Norman brings a credible performance to the iconic character. It also features the likes of Viggo Mortensen, Anne Heche, Julianne Moore, and William H. Macy doing their best to memorably round things out. More than anything, this feels like it really didn’t need to be made, but the subtle differences and fascination factor help it out some. Why couldn’t Gus Van Sant (or Quentin Tarantino for that matter) have remade Psycho II instead?

Psycho III (1986) Psycho III picks up right where the second one left off and gets into who Norman’s real mother is, as well as answering the question as to what was going on in Psycho II. Now that Norman has a physical mother to prop by the window (yeah, things get crazy), he’s right back where he started. All of that hard work and progress we saw in the last film gets thrown out as he goes crazy all over again. Psycho III explores a lot of who Norman is and while the second film deepened that subject in a smart way, this one feels pretty sloppy and manipulative. Even the kills are recreations of previous murders like the shower scene, but they’re executed with less drive, and are often a little lazy. Psycho II at least maintained tense, scary deaths throughout its runtime. Psycho III, on the other hand, is much more interested in capitalizing on blood and tits like other slasher films of its era. There are also some heavy religious overtones with nuns (one, of course, is a sex fiend), commentary on suicide, and recurring totems.

These missteps could be the result of the film being directed by a first-timer, Anthony Perkins himself, who obviously didn’t have the most experienced of perspectives. [related article: The American Slasher Movie: How Did This Happen?] In spite of all of this, Psycho III still manages to be pretty deeply atmospheric (the score is great). The feeling of the original Psycho is effectively captured with Norman submerged in darkness right from the start. Perkins even wanted to film it in black-in-white to match the original. You’re also given the deeply satisfying scene of Norman fully dressed as his mother and talking in her voice. This is something that hasn’t happened since the end of the original film, and Perkins plays it to creepy perfection. He might even give his best performance as Norman in this one, and he plays the character very differently than he did in the previous entry. He’s much more of a nervous mess this time. Interestingly enough, Psycho III was supposed to be a radically different film with a character named Duke as the killer. The reason that he came to the hotel and committed these crimes was because he’s a crazed fan of Norman. Norman, in fact, would have been the hero by killing him and saving the day.

In that scenario, Norman isn’t as crazed. I mean, he still kills Ms. Spool, but he wouldn’t be committing all of the murders. This ending was aborted because Universal made them revert Norman into being a killer. I suppose that’s what a franchise is all about though… Psycho (1960) It seems a little unnecessary to delve too deeply into Psycho’s plot since it’s a part of the public consciousness. If you haven’t seen it, you’ve seen it imitated somewhere else. This unsettling horror film about a boy and his mother is considered to be one of Hitchock’s best, which is certainly saying a lot. There’s a lot to like here with virtually everything from Hitchcock’s signature style to Bernard Herrmann’s perfectly executed score. You often get so caught up in the effortlessness of this film that you forget how it’s still so fucking creepy (that shower scene is a classic for a reason). Anthony Perkins sells the hell out of this, and he brings such a dimensional, pained performance to Norman Bates that it makes him far scarier than some faceless murderer. The ending is such an engaging moment because we’re drawn into this man’s psychosis even further.

[related article – The 13 Scariest Movies: Psycho] The film is also constantly keeping you on your toes and making you question what to believe. The famous misdirect of Marion Crane (who is ostensibly our protagonist for the first half of the film) dying is brilliant stuff that increases our tension. Clearly Psycho is an amazing movie, but it’s because of this that its sequel manages to supersede it. Psycho II takes the incredible foundation that is built here and goes even farther with it. Psycho II (1983) It might seem like a crazy choice putting this above Hitchock’s original classic, but I stand by this, and it seems like a lot of people have noticed the surprising merits found in this satisfying sequel (including Quentin Tarantino, who also loves it). The story sees dear old Norman having been locked up for 22 years in an insane asylum, until he’s finally deemed sane enough to leave. Weirdly, his first order of business is to return to his home at the Bates Motel, which seems pretty inclined to trigger a “relapse” of his psychological trauma.

Then again, this is also very much about Norman going there to face his demons, which he needs to do in order to truly overcome his problems. Anthony Perkins reprises his role and he’s just outstanding here. At times he doesn’t even feel like the same person from the first film. His voice is off and his delivery has changed; it’s some nice character work being done here considering that it’s been 22 years of extensive therapy since we last saw him. You can see that Perkins really cares about this character and franchise, and he give it his all. My favorite thing about this film, however, is that it gets into the fascinating idea of whether Norman is cured or not. Is he just imagining this shit, is he actually back to killing, or is someone messing with him and setting up a vulnerable subject? This perspective makes it a unique take on a horror sequel; where you’re on the side of this character hoping he’s alright, but also inevitably on the side of a possible killer. There are many nods to the first Psycho here (we even see the classic shower scene redone, and then cleverly extended, showing us what took place afterwards in a perfect opening scene).

This could be hokey and forced, but it comes off as if Norman has gotten lost in past behavior and is reverting, rather than manipulative fan service. These sequences act as almost a kind of statement on Norman’s nature being instinctive, as we see things like him reaching for Marion’s former room key again, or the stabbing shots that are identical to the ones from the original. This sort of commentary can only be done through a sequel, as events obviously cannot be repeating in the first film. In contrast, this allows the ability for patterns to now be seen. There’s even a posthumous silhouette cameo from Mr. Hitchcock when Norman goes into his Mother’s room for the first time. Psycho II is far from just fan service though. It’s genuinely unnerving, like in the truly chilling bit involving Mary Loomis dressed up as Norman’s mother and repeatedly stabbing Norman. Let’s also not forget the ridiculous ending that has a huge reveal and twist with an even crazier reaction. It’s super satisfying and enhances the Psycho mythos even more while still remaining faithful to the original film. It’s a great mind-bending movie that’s deeper than the original, if you can believe it.

It feels like we’ve probably hit the saturation point with Psycho as a film franchise. Yet, the history has comfortably found a home within Bates Motel. With that being said, considering the film industry’s increasing need to remake and re-explore old properties, perhaps we haven’t seen the last of Norman Bates on the big screen? Maybe we’re just around the corner of getting a new trilogy exploring the tortured soul’s youth (again)? Such a thing would make so many of us mad. Then again…we all go a little mad sometimes… The views expressed in this article pertaining to Psycho II’s supposed superiority over the Alfred Hitchcock original are strictly the opinions of the writer. Psycho (1998) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A young female embezzler arrives at the Bates Motel, which has terrible secrets of its own.

Director: From $2.99 (SD) on Amazon Video ON DISC Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 32 titles created 06 Feb 2011 a list of 33 titles created 31 Jan 2013 a list of 23 images created 24 Jan 2014 a list of 49 titles created 08 Jul 2014 a list of 31 titles created 10 Aug 2014 Search for " Psycho " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 3 wins & 5 nominations. See more awards » Videos After twenty-two years of psychiatric care, Norman Bates attempts to return to a life of solitude, but the specters of his crimes - and his mother - continue to haunt him.

Director: Richard Franklin Norman Bates recalls his days as a young boy living with his schizophrenic mother while fearing his unborn child will inherit his split personality disorder. Director: Mick Garris Norman Bates falls in love with a nun - which makes his "mother" jealous - who has visited the Bates Motel alongside a drifter and a curious reporter. Director: Anthony Perkins A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother. Director: Alfred Hitchcock Edit Storyline Marion Crane steals a lot of cash from a man whom her boss is in business with. On the way to see her boyfriend, she stops off by an old motel, run by the odd Norman Bates. She is murdered in the shower. Her sister, boyfriend, and a private investigator try to find out where she is, while we learn more about Norman Bates.

Written by Jordan Sharp <rainman88@earthlink.net> The Classic Story of a Boy and His Mother See more » Genres: Rated R for violence and sexuality/nudity | See all certifications » Parents Guide: 4 December 1998 (USA) See more » Also Known As: $10,031,850 (USA) (4 December 1998) Gross: Did You Know? Trivia In addition to their obvious unsuitability for the roles, the casting of Vince Vaughn and Anne Heche as Norman Bates and Marion Crane was distastefully inappropriate because Vaughn and Heche had just played lovers in Return to Paradise (1998). See more » Goofs Some continuity errors were deliberately included, being copied from the original Psycho . See more » Quotes [first lines] Samuel 'Sam' Loomis : You never did eat your lunch, did you? Marion Crane : I better get back to the office. These extended lunch hours give my boss excess acid. Samuel 'Sam' Loomis : Why don't you call your boss and tell him you're taking the rest of the afternoon off? Its Friday, anyway - and hot.

Marion Crane : What do I do with my free afternoon? Walk you to the airport? The logo for Imagine[inc.] drips in blood instead of water See more » Connections Referenced in Identity (2003) See more » Soundtracks Quite Possibly the Worst Film Ever 11 March 2003 | by truthbealiar – See all my reviews I know that the original Psycho was a classic and remaking it was a mistake, ESPECIALLY a shot-by-shot remake. I think that that has been more or less proven by the rest of the comments here. But there's far more wrong with this movie than just that. The first problem is the color. The original film was shot in black and white but, what few people realize is, the original was shot AFTER color film had been invented. The choice of black and white film was partially a budget concern, but it was also a stylistic choice of Hitchcock's. Now, this is not to say that the remake should have been redone in black and white, but the colors of this movie are all too wrong. The most predominant colors in the film are orange and green, particularly on Marion who is not supposed to be a flashy character.

The bright colors make it look like a happy movie and, when horrific events take place in these color schemes, it looks like a cartoon more than anything and the audience is inclined to laugh rather than scream. The second problem is the lighting. This is a dark dark tale which should be highlighted by dim lighting, but this remake seemed not only to fail in this but seemed to go in the OPPOSITE direction. Most of the scenes are very brightly lit, even at times when it is illogical to do so because it's at NIGHT! Another obvious problem is Vince Vaughn's performance. Yes, he does pull off Norman Bate's awkwardness and madness quite well, I don't deny him that. But there is one element to the character that he failed to show: the softness. There should be a certain deceptive friendliness to the character, at least at first, which then fades away once we realize the truth about him. Beyond being a character trait of Norman Bates, this is a recognized character trait of ALL PSYCHOPATHS!!!! There are a few good aspects of this film. Some of the performances are great. As I said, Vince Vaughn came very close to pulling off a decent portrayal of Norman Bates.

Viggo Mortensen and Juliane Moore were great together and their chemistry was very different from the characters in the original, which was a welcome change. Anne Heche may have been atrocious but, unlike Janet Leigh who was untruthfully advertised as one of the biggest stars of the film, Anne Heche was given last billing in the opening credits. I read on the cover of a copy of the Psycho novel that Gus Van Sant claimed this was not a remake of the Hitchcock film but rather a new adaptation of the original novel. I now wish that I had bought that book and saved the comment because, after seeing this film, that comment is quite possibly the funniest thing I have ever seen. There was no attempt in this film to disguise the fact that it was a rip off of the original, and it would be far more believable if Van Sant had tried to tell us that he was really a three ton ape from the planet Zafroomulax. So many shots were copied exactly without any actual thought as to why Hitchcock had composed the original shot in that way. Such as the scene in which Sam and Lila are talking while their faces are entirely covered in shadow.

Hitchcock covered these actors' faces in shadow because he thought they were bad actors and wanted to hide their faces so nobody could see their awful performances, not because of any artistic or stylistic purpose. In other words, my review is about as pointless as the movie itself in that it replicates something that's already been said. Like everyone else here, I reccommend you don't waste your time on this film and get the original. 79 of 128 people found this review helpful. Was this review helpful to you? Yes View All Photos (6) Movie Info In 1960, Alfred Hitchcock was already famous as the screen's master of suspense (and perhaps the best-known film director in the world) when he released Psycho and forever changed the shape and tone of the screen thriller. From its first scene, in which an unmarried couple balances pleasure and guilt in a lunchtime liaison in a cheap hotel (hardly a common moment in a major studio film in 1960), Psycho announced that it was taking the audience to places it had never been before, and on that score what followed would hardly disappoint.

Marion Crane (Janet Leigh) is unhappy in her job at a Phoenix, Arizona real estate office and frustrated in her romance with hardware store manager Sam Loomis (John Gavin). One afternoon, Marion is given $40,000 in cash to be deposited in the bank. Minutes later, impulse has taken over and Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her purloined nest egg. 36 hours later, paranoia and exhaustion have started to set in, and Marion decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she's the first guest in weeks, before he regales her with curious stories about his mother. There's hardly a film fan alive who doesn't know what happens next, but while the shower scene is justifiably the film's most famous sequence, there are dozens of memorable bits throughout this film. The first of a handful of sequels followed in 1983, while Gus Van Sant's controversial remake, starring Vince Vaughn and Anne Heche, appeared in 1998.

~ Mark Deming, Rovi Rating: Psycho Movie Review & Film Summary (1960) | Roger Ebert "It wasn't a message that stirred the audiences, nor was it a great performance...they were aroused by pure film." Advertisement So Alfred Hitchcock told Francois Truffaut about "Psycho," adding that it "belongs to filmmakers, to you and me." Hitchcock deliberately wanted "Psycho" to look like a cheap exploitation film. He shot it not with his usual expensive feature crew (which had just finished "North by Northwest") but with the crew he used for his television show. He filmed in black and white. Long passages contained no dialogue. His budget, $800,000, was cheap even by 1960 standards; the Bates Motel and mansion were built on the back lot at Universal. In its visceral feel, "Psycho" has more in common with noir quickies like " Detour " than with elegant Hitchcock thrillers like " Rear Window " or " Vertigo ." Yet no other Hitchcock film had a greater impact. "I was directing the viewers," the director told Truffaut in their book-length interview.

"You might say I was playing them, like an organ." It was the most shocking film its original audience members had ever seen. "Do not reveal the surprises!" the ads shouted, and no moviegoer could have anticipated the surprises Hitchcock had in store--the murder of Marion ( Janet Leigh ), the apparent heroine, only a third of the way into the film, and the secret of Norman's mother. "Psycho" was promoted like a William Castle exploitation thriller. "It is required that you see 'Psycho' from the very beginning!" Hitchcock decreed, explaining, "the late-comers would have been waiting to see Janet Leigh after she had disappeared from the screen action." These surprises are now widely known, and yet "Psycho" continues to work as a frightening, insinuating thriller. That's largely because of Hitchcock's artistry in two areas that are not as obvious: The setup of the Marion Crane story, and the relationship between Marion and Norman ( Anthony Perkins ). Both of these elements work because Hitchcock devotes his full attention and skill to treating them as if they will be developed for the entire picture.

Advertisement The setup involves a theme that Hitchcock used again and again: The guilt of the ordinary person trapped in a criminal situation. Marion Crane does steal $40,000, but still she fits the Hitchcock mold of an innocent to crime. We see her first during an afternoon in a shabby hotel room with her divorced lover, Sam Loomis ( John Gavin ). He cannot marry her because of his alimony payments; they must meet in secret. When the money appears, it's attached to a slimy real estate customer (Frank Albertson) who insinuates that for money like that, Marion might be for sale. So Marion's motive is love, and her victim is a creep. This is a completely adequate setup for a two-hour Hitchcock plot. It never for a moment feels like material manufactured to mislead us. And as Marion flees Phoenix on her way to Sam's home town of Fairvale, Calif., we get another favorite Hitchcock trademark, paranoia about the police. A highway patrolman (Mort Mills) wakes her from a roadside nap, questions her, and can almost see the envelope with the stolen money.

She trades in her car for one with different plates, but at the dealership she's startled to see the same patrolman parked across the street, leaning against his squad car, arms folded, staring at her. Every first-time viewer believes this setup establishes a story line the movie will follow to the end. Frightened, tired, perhaps already regretting her theft, Marion drives closer to Fairvale but is slowed by a violent rainstorm. She pulls into the Bates Motel, and begins her short, fateful association with Norman Bates. And here again Hitchcock's care with the scenes and dialog persuades us that Norman and Marion will be players for the rest of the film. Advertisement He does that during their long conversation in Norman's "parlor," where savage stuffed birds seem poised to swoop down and capture them as prey. Marion has overheard the voice of Norman's mother speaking sharply with him, and she gently suggests that Norman need not stay here in this dead end, a failing motel on a road that has been bypassed by the new interstate. She cares about Norman. She is also moved to rethink her own actions. And he is touched. So touched, he feels threatened by his feelings. And that is why he must kill her.

When Norman spies on Marion, Hitchcock said, most audience members read it as Peeping Tom behavior. Truffaut observed that the film's opening, with Marion in a bra and panties, underlines the later voyeurism. We have no idea murder is in store. Seeing the shower scene today, several things stand out. Unlike modern horror films, "Psycho" never shows the knife striking flesh. There are no wounds. There is blood, but not gallons of it. Hitchcock shot in black and white because he felt the audience could not stand so much blood in color (the 1998 Gus Van Sant remake specifically repudiates that theory). The slashing chords of Bernard Herrmann's soundtrack substitute for more grisly sound effects. The closing shots are not graphic but symbolic, as blood and water spin down the drain, and the camera cuts to a closeup, the same size, of Marion's unmoving eyeball. This remains the most effective slashing in movie history, suggesting that situation and artistry are more important than graphic details. Advertisement Perkins does an uncanny job of establishing the complex character of Norman, in a performance that has become a landmark.

Perkins shows us there is something fundamentally wrong with Norman, and yet he has a young man's likability, jamming his hands into his jeans pockets, skipping onto the porch, grinning. Only when the conversation grows personal does he stammer and evade. At first he evokes our sympathy as well as Marion's. The death of the heroine is followed by Norman's meticulous mopping-up of the death scene. Hitchcock is insidiously substituting protagonists. Marion is dead, but now (not consciously but in a deeper place) we identify with Norman--not because we could stab someone, but because, if we did, we would be consumed by fear and guilt, as he is. The sequence ends with the masterful shot of Bates pushing Marion's car (containing her body and the cash) into a swamp. The car sinks, then pauses. Norman watches intently. The car finally disappears under the surface. Analyzing our feelings, we realize we wanted that car to sink, as much as Norman did. Before Sam Loomis reappears, teamed up with Marion's sister Lila ( Vera Miles ) to search for her, "Psycho" already has a new protagonist: Norman Bates.

This is one of the most audacious substitutions in Hitchcock's long practice of leading and manipulating us. The rest of the film is effective melodrama, and there are two effective shocks. The private eye Arbogast ( Martin Balsam ) is murdered, in a shot that uses back-projection to seem to follow him down the stairs. And the secret of Norman's mother is revealed. Advertisement For thoughtful viewers, however, an equal surprise is still waiting. That is the mystery of why Hitchcock marred the ending of a masterpiece with a sequence that is grotesquely out of place. After the murders have been solved, there is an inexplicable scene during which a long-winded psychiatrist ( Simon Oakland ) lectures the assembled survivors on the causes of Norman's psychopathic behavior. This is an anticlimax taken almost to the point of parody. If I were bold enough to reedit Hitchcock's film, I would include only the doctor's first explanation of Norman's dual personality: "Norman Bates no longer exists. He only half existed to begin with.

And now, the other half has taken over, probably for all time." Then I would cut out everything else the psychiatrist says, and cut to the shots of Norman wrapped in the blanket while his mother's voice speaks ("It's sad when a mother has to speak the words that condemn her own son..."). Those edits, I submit, would have made "Psycho" very nearly perfect. I have never encountered a single convincing defense of the psychiatric blather; Truffaut tactfully avoids it in his famous interview. What makes "Psycho" immortal, when so many films are already half-forgotten as we leave the theater, is that it connects directly with our fears: Our fears that we might impulsively commit a crime, our fears of the police, our fears of becoming the victim of a madman, and of course our fears of disappointing our mothers. Advertisement The Shower - Psycho (5/12) Movie CLIP (1960) HD - YouTube The Shower - Psycho (5/12) Movie CLIP (1960) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 27, 2011 Psycho movie clips: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Marion (Janet Leigh) takes a shower at the Bates Motel; she's stabbed by a silhouetted assailant. FILM DESCRIPTION: In 1960, Alfred Hitchcock was already famous as the screen's master of suspense (and perhaps the best-known film director in the world) when he released Psycho and forever changed the shape and tone of the screen thriller. From its first scene, in which an unmarried couple balances pleasure and guilt in a lunchtime liaison in a cheap hotel (hardly a common moment in a major studio film in 1960), Psycho announced that it was taking the audience to places it had never been before, and on that score what followed would hardly disappoint. Marion Crane (Janet Leigh) is unhappy in her job at a Phoenix, Arizona real estate office and frustrated in her romance with hardware store manager Sam Loomis (John Gavin).

One afternoon, Marion is given $40,000 in cash to be deposited in the bank. Minutes later, impulse has taken over and Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her purloined nest egg. 36 hours later, paranoia and exhaustion have started to set in, and Marion decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she's the first guest in weeks, before he regales her with curious stories about his mother. There's hardly a film fan alive who doesn't know what happens next, but while the shower scene is justifiably the film's most famous sequence, there are dozens of memorable bits throughout this film. The first of a handful of sequels followed in 1983, while Gus Van Sant's controversial remake, starring Vince Vaughn and Anne Heche, appeared in 1998. CREDITS: Cast: Anthony Perkins, Janet Leigh Director: Alfred Hitchcock Screenwriters: Joseph Stefano, Robert Bloch WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web.

Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: Sound in Psycho steals the money and is driving through the city: [When] Marion ’s car comes to a stop at the intersection, we should hear her engine die down to an imperceptible tick over. It is very important to hear her engine sound diminish sharply, because the shot on the screen itself does not clearly show her coming to a stop. In Sequence 3- of Marion hellish drive that ends at Bates Motel- Hitchcock writes: When we reach the night sequence, exaggerate passing car noises when headlights show in her eyes. Make sure that the passing car noise is fairly loud, so that we get the contrast of silence when she is found by the roadside in the morning�. Just before the rain starts there should be rumble thunder, not too violent, but enough to herald the coming rain. Once the rain starts, there should be a progression of falling rain sound and slow range of the sound of passing trucks�..Naturally, wind-shield wipers should be heard all through the moments she turns them on�.

The rain sounds must be very strong, so that when the rain stops, we should be strongly aware of silence and odd dripping noises that follow. In the screenplay, the description of the scene in which the detective sneaks into Bates house prescribes the following sound cue: Arbogast listen, holds his breath, hears what could be human sounds coming from upstairs but realizes these could also be the sounds of the old house after sunset�.[He] starts up, slowly, guardedly, placing a foot squarely on each step to test it for it squeaks or groans. For the moment note when Arbogast meets his maker. Hitchcock dictates: Special note must be taken of the sounds of footsteps on the stairs- because, although we do not see "Mother", we should hear the sounds of her stumbling feet down the stairs in pursuit of Arbogast. In the scene after Arbogast has been killed, Hitchcock knew what effect a creaky stairway would have on the audience, when: As [Lila] climbs [the stairs] she is startled by the creaks and groans of the old wood of the steps. She steps more carefully.

On the shower sequence and its aftermath, Hitchcock's notes to composer Bernard Herman and the sound men Waldon O Watson and William Russel dated January 8, 1960 , are most emphatic. Again the director seemed intent upon making the impact through image, not music. Through the killing, there should be the shower noise and the blows of the knife. We should hear water gurgling down the drain of the bathtub, especially when we go closer it� during the murder, the sound of the shower should be continuous and monotonous, only broken by the screams of Marion . After five consecutive films with composer Bernhard Hermann, Hitchcock deeply respected the contributions of the brilliant, often abrasive New York- born Juilliard graduate. Founder and conductor of a camber orchestra at age twenty, Hermann, like Hitchcock, could be a bristly perfectionist, contentious, and pedant. Although Hermann was clearly not the sort who easily took direction, the composer was to follow closely Hitchcock's dictates as to the music cues for the opening third of Psycho- with a single, unforgettable exception. "Mr.Hitchcock had a wonderful relationship with Bernie" observed script supervisor Marschal Schlom.

"And the way to maintain that was to give Hermann the latitude to do what he wanted. Mr. Hitchcock only wanted people around him who knew what they were doing." Hermann, who died in 1975, once told director Brian De Palma, " I remember sitting in a screening room after seeing the rough cut of Psycho. Hitch was nervously pacing back and forth, saying it was awful and that he was going to cut it down for his television show. He was crazy. He didn't know what he had. `Wait a minute I said, " I have some ideas. How about a score completely for strings? I used to be a violin player you know�"Hitch was crazy then. You know, he made Psycho with his own money and he was afraid it was going to be a flop. He didn't even want any music in the shower scene. Can you imagine that?" In fact, Hitchcock dictated that he wanted "no music at all though the [motel] sequence" with Marion and Norman.

Hermann so mistrusted the uncharacteristic state into which Hitchcock had worded himself that he ignored counter suggestion made by his directorial colleague for Psycho's fidgety, post-bebop jazz score. Screenwriter Stefano, a former musician, recalled Herrmann’s telling him, " I'm going to use only strings. �I thought it was weird. No drums? No rhythm section? At the good example- for this score. But I felt that Bernard Hermann was the first person other than Hitchcock and I who dug the movie, the first who said �Ooops-we�ve got something else here" For Psycho, Bernard Hermann was to concoct nothing less than a cello and violin masterwork, "black and white" music that throbbed sonorously as often as it gnawed at the nerve endings. The score would prove to be a summation of all of Hermann's previous scores for Hitchcock's films, conveying as it did the sense of the abyss that is the human psyche, dread, longing, regret �in short, the wellsprings of the Hitchcock universe.

According to Stefano, Hitchcock was particularly amused by Hermann's screaming violins" and "gave him more credit than anyone else he ever spoke of". So pleased was the parsimonious director by Hermann's score that he did the unheard of: He nearly doubled the composer's salary �to $34.501. Excerpt from Alfred Hitchcock and the Making of Psycho St Martins Pr (Trade); 1999 The book is availed at Internet book stores as Amazon books

Question: What motel was featured in the movie "Psycho"?
Answer: The Bates Motel