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 Marion Crane (Character) Marion Crane (Character) from Psycho (1960) The content of this page was created by users. It has not been screened or verified by IMDb staff. There may be more photos available for this character. To select more photos to be displayed in this character's gallery, click the Edit Photos link. Overview Marion Crane began her (brief) life as Mary Crane... See more » Alternate Names: ... aka "2010 Academy Awards" - USA (informal short title) ... aka "The 2010 Oscars" - USA (informal short title) ... aka "The Oscars" - USA (informal short title) ... aka "Cinemassacre's Monster Madness 3" - USA (third season title) ... aka "Cinemassacre's Monster Madness 8" - USA (eighth season title) ...

aka "Cinemassacre's Monster Madness 9" - USA (ninth season title) ... aka "Cinemassacre's Monster Madness X" - USA (tenth season title) ... aka "Cinemassacre's Monster Madness: '80s-A-Thon" - USA (sixth season title) ... aka "Cinemassacre's Monster Madness: Camp Cult" - USA (fourth season title) ... aka "Cinemassacre's Monster Madness: Godzilla-Thon" - USA (second season title) ... aka "Cinemassacre's Monster Madness: History of Horror" - USA (first season title) ... aka "Cinemassacre's Monster Madness: Sequel-A-Thon" - USA (fifth season title) ... aka "Cinemassacre's Monster Madness: Sequel-A-Thon 2" - USA (seventh season title) Taos Unlimited | Movie Locations of the Great Southwest! | 1960s: Psycho 1960.

Universal Studios, Black & White, Aspect Ratio 1.85 : 1, 109 minutes, Not Rated Release Date: June 16, 1960 Movie Synopsis: Classic Hitchcock psychological thriller involving a female embezzler who ends up in the wrong place at the wrong time... which happens to be the Bates Motel, run by a twisted mamas boy. Cast: Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, Patricia Hitchcock Director: Alfred Hitchcock Thoughts on the Movie: Who hasnt seen Psycho? Generation after generation of females have been scared to take a shower after viewing Hitchcocks masterpiece thriller. But, of course, theres more to this movie than that. Clever and creepy in glorious black and white, with dialogue that actually makes you think, its sort of weird to say, but this film is a joy to watch. It pulls you in and traps you in its uneasy web. Dont ever think, Ill just watch a few minutes of Psycho, because no matter where you come in on the action, youll be staying till the very end... every time.

Why is this movie included on my list of films with locations in the Great Southwest? Because of its opening scene that features a downtown hotel in Phoenix, Arizona. Thats excuse enough for me. ~Jean Location Site: Jefferson Hotel, Phoenix, Arizona (see Map ) The building (located at 109 S. Central) served as the establishing shot of the window of the hotel room that Marion Crane and Sam Loomis were in at the beginning of the film, letting viewers know the film was set in Phoenix. A second unit filmed the opening shot of the Jefferson Hotel. Notice the Christmas decorations? The shot was filmed at the beginning of December, but Christmas doesnt get mentioned and the weather seems surprisingly hot. To cover this glitch, the time and date are added over the shot: Friday, December the Eleventh. The holiday season is never referred to again.

Right: The Jefferson Hotel was used for location shots for the opening scene in Alfred Hitchcocks 1960 movie masterpiece, Psycho. This hotel, in which MarionCrane and Sam Loomis appeared to spend their illicit lunchbreak (the scenes were actually shot back in the studio) has been renovated to become the Barrister Place Building, at the southeast corner of Jefferson Street. It now houses the Phoenix Police Museum. All buildings that were originally in the foreground have since been razed for parking. About Phoenix, Arizona: Phoenix, Arizona (population 1,445,632; elevation 1,117 feet; 33° 26 54 N, 112° 4 25 W) is located in the northeastern section of the Sonoran Desert, on I-25 and I-10. Phoenix is the capital of Arizona and is also the anchor of the Phoenix metropolitan area (also known as the Valley of the Sun), the 12th largest metro area by population in the United States with more than 4.1 million people. Right: A more modern day view of downtown Phoenix, Arizona.

The Phoenix area is surrounded by the McDowell Mountains to the northeast, the White Tank Mountains to the west, the Superstition Mountains far to the east, and the Sierra Estrella to the southwest. Within the city are the Phoenix Mountains and South Mountains. Residents of the city are known as Phoenicians. As with most of Arizona, Phoenix does not observe daylight saving time. In 1973, Governor Jack Williams argued to the U.S. Congress that energy use would increase in the evening, as refrigeration units were not used as often in the morning on standard time. He went on to say that energy use would rise because there would be more lights on in the early morning. He was also concerned about children going to school in the dark. The exception to this are lands of the Navajo Nation in Northeastern Arizona, which observe daylight saving time in conjunction with the rest of their tribal lands in other states. Phoenix was incorporated as a city in 1881, after being founded in 1861, near the Salt River, and its confluence with the Gila River.

The city has a notable and famous political culture, and has been home to numerous influential American politicians and other dignitaries, including: Barry Goldwater, William Rehnquist, John McCain, Janet Napolitano, Carl Hayden, and Sandra Day OConnor. The history of Phoenix as a city begins with Jack Swilling, a Confederate veteran of the American Civil War who had earlier come west to seek wealth in the 1850s. On an outing in 1857, he stopped to rest at the foot of the White Tank Mountains. Swilling observed the abandoned river valley and considered its potential for farming: the terrain and climate were optimal, only a regular source of water was necessary. The existence of the old Hohokam ruins, showing clear paths for canals, made Swilling imagine new possibilities. Left: Janet Leigh seems amused at Alfred Hitchcocks direction during the filming of the hotel scene in the masterpiece thriller, Psycho. Swilling had a series of canals built, which followed those of the ancient Native American system. A small community formed that same year about four miles east of the present city.

It was first called Pumpkinville, due to the large pumpkins that flourished in fields along the canals. Later it was called Swillings Mill, in his honor, though later it was renamed to Helling Mill, Mill City, and finally, East Phoenix. Eventually, Lord Darrell Duppa suggested the name Phoenix, as it described a city born from the ruins of a former civilization. The coming of the railroad in the 1880s was the first of several important events that revolutionized the economy of Phoenix. A spur of the Southern Pacific Railroad, the Phoenix and Maricopa, was extended from Maricopa into Tempe in the late 1880s. Merchandise now flowed into the city by rail instead of wagon. Phoenix became a trade center with its products reaching eastern and western markets. The early economy of Phoenix was primarily agricultural, dependent mainly on the 5Cs which were copper, cattle, climate, cotton and citrus. In the last four decades most of the farmlands have been turned into suburbs, and the economy has diversified as swiftly as the population has grown.

Lodging & Dining: Maricopa Manor. 15 West Pasadena Avenue, Phoenix, Arizona Maricope Manor is in the heart of north central Phoenix in a historic residential district, less than half a minute from the intersection of Central Avenue and Camelback Road and only ten minutes north of the downtown business district. A Spanish style hacienda (dating back to 1928) with six suites, it is the perfect jumping off point for other Arizona destinations. Chino Bandito. 15414 N. 19th Avenue, Suite K, Phoenix, Arizona Guy Fieri of Food Networks Diners, Drive-ins and Dives visited this unique eatery and he gave it a thumbs up. Portion size is large, the food is delicious, and the price is right. Where can you get Mexican and Chinese food not only at the same diner, but on the same plate? On the menu youll find eclectic choices like an Egg Foo Young Burrito or Jerk Fried Rice with Black Beans.

Right: Anthony Perkins turned in a spectacular performance as the creepy Norman Bates in Alfred Hitchcocks psychological thriller, Psycho. Awards:  Janet Leigh won the Golden Globe as Best Supporting Actress.  Janet Leigh was nominated for the Oscar as Best Supporting Actress.  Alfred Hitchcock was nominated for the Oscar as Best Director.  Alfred Hitchcock was nominated as Best Director by The Directors Guild of America. Movie Trivia:  Other actresses considered for the role of Marion were: Eva Marie Saint, Piper Laurie, Martha Hyer, Hope Lange, Shirley Jones, and Lana Turner.  The film only cost $800,000 to make and has earned more than $40 million. Alfred Hitchcock used the crew from his TV series Alfred Hitchcock Presents (1955) to save time and money. In 1962, he exchanged the rights to the film and his TV series for a huge block of MCAs stock, becoming its third-largest stockholder.

Right: The film crew on the set of Psycho, captures the love scene between Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). It is this secret relationship that ultimately leads Marion to her fate at the Bates Motel.  Alfred Hitchcock makes his trademark cameo appearance about four minutes into the film, outside Marions office, wearing a cowboy hat.  Marions white 1957 Ford sedan (owned by Universal) is the same car that the Cleaver family drove on Leave It to Beaver (1957). Oh, my!  This was the first American film ever to show a toilet flushing on screen.  Psycho was voted the seventh scariest film of all time by Entertainment Weekly magazine.  The film was based on the novel "Psycho," written by Robert Bloch. In the novel, the character of Marion was Mary Crane. The name was changed because the studio legal department found that two real people named Mary Crane lived in Phoenix, Arizona.

 When the cast and crew began work on the first day, they had to raise their right hands and promise not to divulge one word of the story. Alfred Hitchcock also withheld the ending part of the script from his cast until it was time to shoot it.  Anthony Perkins was paid $40,000 dollars for his role, which is the amount of money that Marion Crane embezzles.  Psycho was not shown on U.S. TV until 1970, following a highly successful theatrical re-release the previous year. At that time, Universal released it on the syndication market, where it quickly became a popular staple on local late night horror film showings.  The film score, composed by Bernard Herrmann, is played entirely by stringed instruments. Alfred Hitchcock was so pleased with the score that he doubled the composers salary to $34,501. Hitchcock later said, 33% of the effect of Psycho was due to the music.  There are several references to birds in Psycho: Marions surname is Crane, Normans hobby is stuffing birds, and he states that Marion eats like a bird.

Coincidentally, Alfred Hitchcocks next film was The Birds (1963). Character Quote: A boys best friend is his mother. ~Norman Bates (Anthony Perkins) Psycho (1960) Psycho (1960) Pages: ( 1 ) ( 2 ) ( 3 ) ( 4 ) Background Alfred Hitchcock's powerful, complex psychological thriller, Psycho (1960) is the "mother" of all modern horror suspense films - it single-handedly ushered in an era of inferior screen 'slashers' with blood-letting and graphic, shocking killings (e.g., Homicidal (1961), The Texas Chainsaw Massacre (1974), Halloween (1978) , Motel Hell (1980), and DePalma's Dressed to Kill (1980) - with another transvestite killer and shower scene). While this was Hitchcock's first real horror film, he was mistakenly labeled as a horror film director ever since.

The nightmarish, disturbing film's themes of corruptibility, confused identities, voyeurism, human vulnerabilities and victimization, the deadly effects of money, Oedipal murder, and dark past histories are realistically revealed. Its themes were revealed through repeated uses of motifs, such as birds, eyes, hands, and mirrors. The low-budget ($800,000), brilliantly-edited, stark black and white film came after Hitchcock's earlier glossy Technicolor hits Vertigo (1958) and North by Northwest (1959) , and would have been more suited for as an extended episode for his own b/w TV series Alfred Hitchcock Presents. In fact, the film crew was from the TV show, including cinematographer John L. Russell. The master of suspense skillfully manipulates and guides the audience into identifying with the main character, luckless victim Marion (a Phoenix real-estate secretary), and then with that character's murderer - a crazy and timid taxidermist named Norman (a brilliant typecasting performance by Anthony Perkins). Hitchcock's techniques voyeuristically implicate the audience with the universal, dark evil forces and secrets present in the film.

Psycho also broke all film conventions by displaying its leading female protagonist having a lunchtime affair in her sexy white undergarments in the first scene; also by photographing a toilet bowl - and flush - in a bathroom (a first in an American film), and killing off its major 'star' Janet Leigh a third of the way into the film (in a shocking, brilliantly-edited shower murder scene accompanied by screeching violins). The 90-odd shot shower scene was meticulously storyboarded by Saul Bass, but directed by Hitchcock himself. [A satirical parody of scenes from various Hitchcock films, including some from Psycho, were included in Mel Brooks' comedy High Anxiety (1978). The shower scene itself has been referenced, spoofed and parodied in numerous films, including Brian De Palma's The Phantom of the Paradise (1974) and Dressed to Kill (1980), Squirm (1976), Victor Zimmerman's low-budget Fade to Black (1980), Tobe Hooper's The Funhouse (1981), John De Bello's Killer Tomatoes Strike Back!

(1990), Martin Walz' The Killer Condom (1997, Ger.), Wes Craven's Scream 2 (1997), Scott Spiegel's From Dusk Till Dawn 2: Texas Blood Money (1999), and the animated Looney Tunes: Back in Action (2003), in which Bugs acts out with the film's black-and-white footage and a can of Hershey's chocolate syrup poured down the drain.] In this film, Hitchcock's gimmicky device, termed a MacGuffin (the thing or device that motivates the characters, or propels the plot and action), is the stolen $40,000 from the realtor's office. Marion Crane becomes a secondary MacGuffin after her murder. The film's screenplay by Joseph Stefano was adapted from a novel of the same name by author Robert Bloch.

Remarkably, Bloch's 1959 novel was based on legendary real-life, Plainfield, Wisconsin psychotic serial killer Edward Gein, whose murderous character also inspired the mother-obsessed farmer in Deranged (1974), the Leatherface character in The Texas Chainsaw Massacre (1974), and serial killer Jame Gumb ("Buffalo Bill") in The Silence of the Lambs (1991) .

[Bloch became a major horror screenwriter during the 60s decade and beyond, responsible for such suspenseful horror films and chillers as The Cabinet of Caligari (1962) - an update of the 1919 classic, Strait Jacket (1964), The Night Walker (1964), The Skull (1965), The Psychopath (1966), The Deadly Bees (1967), The Torture Garden (1967), The House That Dripped Blood (1971), Asylum (1972), the short feature Mannikin (1977), and The Amazing Captain Nemo (1977).] Like many of Hitchcock's films, Psycho is so very layered and complex that multiple viewings are necessary to capture all of its subtlety. Symbolic imagery involving stuffed birds and reflecting mirrors are ever-present. Although it's one of the most frightening films ever made, it has all the elements of very dark, black comedy. This film wasn't clearly understood by its critics when released.

Hitchcock admitted that Henri-Georges Clouzot's influential thriller Les Diaboliques (1955, Fr.) inspired his film. This taut masterpiece was followed by three feature film sequels (none directed by Hitchcock) and other imitations or TV films: Title TV pilot film, with Bud Cort as Bates Motel manager Psycho IV: The Beginning (1990) Mick Garris Made for Cable-TV film, with Anthony Perkins as Norman, Henry Thomas as a young Norman, and Olivia Hussey as Norma Bates Psycho (1998) Gus Van Sant An almost 'scene-by-scene' (actually 'shot-by-shot') remake (or replication) of the original classic, that only generated interest for the original film The film's four Academy Award nominations failed to win Oscars: Best Supporting Actress (Janet Leigh with her sole career nomination), Best Director (Alfred Hitchcock with the last of his five losing nominations), Best B/W Cinematography, and Best B/W Art Direction/Set Decoration. Bernard Herrmann's famous and memorable score with shrieking, harpie-like piercing violins was un-nominated.

When the film was originally aired in theaters in mid-1960, Hitchcock insisted in a publicity gimmick (a la P.T. Barnum) that no one would be seated after the film had started - the decree was enforced by uniformed Pinkerton guards. Audiences assumed that something horrible would happen in the first few minutes. Violence is present for about two minutes total in only two shocking, grisly murder scenes, the first about a third of the way through, and the second when a Phoenix detective named Arbogast is stabbed at the top of a flight of stairs and topples backwards down the staircase. The remainder of the horror and suspense is created in the mind of the audience, although the tale does include such taboo topics as transvestism, implied incest, and hints of necrophilia. The Story The bleak, monochrome film is made more effective by Bernard Herrmann's sparse, but driving, recognizable score, first played under the frantic credits (by industry pioneer Saul Bass) - shown with abstract, gray horizontal and vertical lines that streak back and forth, violently splitting apart the screens and causing them to disappear. The frenetic lines appear as prison bars or vertical city buildings.

[These criss-crossing patterns, like mirror-images, are correlated to the split, schizophrenic personality of a major protagonist.] The film opens with the aerial-view camera sweeping left to right along the urban skyline of "PHOENIX, ARIZONA" where some new construction is in progress. [The numerous references to birds in the film begins here, with the city of 'Phoenix'.] The specific date and time are emphasized in titles in the middle of the screen: FRIDAY, DECEMBER THE ELEVENTH TWO FORTY-THREE P.M The shot pans across many skyscraper buildings, and after a series of numerous dissolves, randomly chooses to descend and penetrate deeper into one of many windows in a cheaper, high-rise hotel building - the window's venetian blinds narrowly conceal the dingy interior. There, the camera pauses at the half-open window - and then voyeuristically intrudes into the foreground darkness of the drab room. The camera takes a moment to adjust to the black interior - and then pans to the right where a post-coital, semi-nude couple have just completed a seedy, lunch-time tryst.

Attractive, single 30-ish secretary, Marion (spelled not with an A but an O - signifying emptiness) Crane (Janet Leigh), wearing only a prominent white bra and slip and reclining back on a double bed, is with her shirtless lover/fiancee Sam Loomis (John Gavin) who stands over her. In the background is a bathroom (the first of three bedrooms with bathrooms in the background). Sam speaks the first line of dialogue, referring to the uneaten lunch food on the stand - on many levels, she has lost her appetite for their ungratifying relationship and mutual poverty. As he kisses her and they embrace on the bed, they discuss their "cheap" relationship and impoverishment, and their many unresolved issues: Sam: You never did eat your lunch, did you? Marion: I'd better get back to the office. These extended lunch hours give my boss excess acid. Sam: Why don't you call your boss and tell him you're taking the rest of the afternoon off? (It's) Friday anyway - and hot. Marion: What do I do with my free afternoon? Walk you to the airport? Sam: Well, you could laze around here a while longer.

Marion (foreshadowing a future hotel visit): Hmm. Checking out time is 3 pm. Hotels of this sort aren't interested in you when you come in, but when your time is up. Oh Sam, I hate having to be with you in a place like this. Sam: I've heard of married couples who deliberately spend an occasional night in a cheap hotel. Marion: When you're married, you can do a lot of things deliberately. Sam: You sure talk like a girl who's been married. Marion: Sam, this is the last time. Sam: For what? Marion: For this, meeting you in secret so we can be secretive. You come down here on business trips. We steal lunch hours. I wish you wouldn't even come. Sam: All right, what do we do instead? Write each other lurid love letters? It's a hot, Friday afternoon [although December, it undoubtedly looks like a summer day] and they are obviously in the midst of a "secretive" affair in Room No. 514. She loves Sam but they can only furtively see each other during his business trips.

Sam has flown in from a small town in California to see Marion - and "steal lunch hours." As she rises to dress and cover up her ample breasts, they discuss further difficulties in their fitful relationship (characterized as more sexual than intimate). Sam secretly enjoys the illicitness of their sleazy, "lurid" affair and suggests seeing her the next week - and even assents to having "lunch - in public." In a semi-ultimatum to Sam, Marion tells him that "this is the last time" - she will deny him further sexual couplings in "secretive" meetings. She expresses her frustration about their private love trysts and her real desire for marriage - she wants chastity, respectability, and public meetings in the place she shares with her sister (where a framed picture of her dead "Mother" morally disapproves, presides, and judges them). [Of course, there's another morally-disapproving, judgmental 'dead Mother' in the film, but that comes later.

One unanswered question in the film: Did Marion spend years nursing her invalid mother - selfless dedication that contributed to her fate as an old maid?] He agrees to see her under the new terms of 'respectability,' although he reminds her how "a lot of sweating out," "patience," and "hard work" would be prerequisites in a respectable relationship [Marion's sister later tellingly asserts: "Patience doesn't run in my family"]: Marion: Oh, we can see each other. We can even have dinner, but respectably. In my house, with my mother's picture on the mantel, and my sister helping me broil a big steak for three. Sam: And after the steak, do we send sister to the movies, turn Momma's picture to the wall? Marion: Sam! Sam: (begrudgingly) All right. Marion, whenever it's possible I want to see you and under any circumstances, even respectability. Marion: You make respectability sound disrespectful. Sam: Oh no, I'm all for it. But it requires patience, temperance, with a lot of sweating out. Otherwise though, it's just hard work.

But if I could see you and touch you, you know, simply as this, I won't mind. (He nibbles at her neck.) Sam, a small-town (Fairvale, California) hardware store proprietor, is also frustrated and self-pitying because of his money worries - he is a financial martyr, burdened by his father's debts and the alimony he must pay to his ex-wife. She proposes marriage directly (she is still a spinster and stuck in the same job after ten years) - and poignantly describes her willingness to share a life of cash-strapped hardship with him. But annoyingly, he balks at the thought, refusing because he doesn't want her to live in poverty and because he believes he must first pay off his debts over the next couple years. She threatens to leave him and thinks she may find "somebody available" to take his place and end her fears of being a fallen woman: Sam: I'm tired of sweating for people who aren't there. I sweat to pay off my father's debts and he's in his grave.

(Sam has walked in front of a fan with spinning blades.) I sweat to pay my ex-wife's alimony and she's living on the other side of the world somewhere. Marion: I pay too. They also pay who meet in hotel rooms. [This line evokes the famous last line of Milton's sonnet, On His Blindness: "They also serve who only stand and wait."] Sam: A couple years and my debts will be paid off. If she remarries, the alimony stops. Marion: I haven't even been married once yet. Sam: Yeah, but when you do, you'll swing. Marion: Oh Sam, let's get married! (They kiss and embrace.) Sam: Yeah. And live with me in a storeroom behind a hardware store in Fairvale? We'll have lots of laughs. I'll tell you what. When I send my ex-wife her alimony, you can lick the stamps. Marion: I'll lick the stamps. Sam: Marion, you want to cut this off, go out and find yourself somebody available? Marion: I'm thinking of it. Sam: How could you even think a thing like that?

Unhappy and unfulfilled in her unsanctified relationship, Marion rejects his idea to take the afternoon off and rushes back to her storefront real estate office - she is anxious about being late. [Director Hitchcock, wearing a ten-gallon hat, makes his cameo appearance on the Phoenix sidewalk facing away from the window of the realty office.] She is relieved that her boss Mr. George Lowery (Vaughn Taylor) is not back from lunch, but she suffers from a headache (brought on by her perennial problems with Sam). [Behind her in the office is a framed picture of a barren, desert scene]: Headaches are like resolutions. You forget them as soon as they stop hurting. She listens to her recently-married co-worker Caroline (Patricia Hitchcock, Hitchcock's real-life daughter) chatter about her interfering, nagging mother, who had suggested that her doctor prescribe tranquilizers for her wedding day to protect her (from the anguish of losing her virginity and having sex?) - her mother's nosiness angered her proprietary groom/husband Teddy. [Scenes of frigid winter are displayed behind her.] Caroline offers Marion a tranquilizer rather than an aspirin for her headache.

My mother's doctor gave them to me the day of my wedding. Teddy was furious when he found out I'd taken tranquilizers. Mirrors are ever-present throughout the film - Marion checks out her appearance and applies lipstick using a small compact mirror from her purse. Mr. Lowery arrives shortly afterwards with an important, wealthy (and inebriated) millionaire - a cowboy-hatted customer named Mr. Tom Cassidy (Frank Albertson). He is an oil-lease man who is sweating from the heat and complaining about the weather: "Wow! It's as hot as fresh milk." The salty oilman suggests that Lowery should "air-condition...up" his employees, because he "can afford it today." Mr. Cassidy has just proudly bought a house on Harris Street for his "sweet little girl" - his 18 year old, soon-to-be-married daughter ("baby"): Tomorrow's the day my sweet little girl - (He leers over at Marion) - Oh, oh, not you - my daughter, a baby. And tomorrow she stands her sweet self up there and gets married away from me. I want you to take a look at my baby.

Eighteen years old, and she never had an unhappy day in any one of those years. Flirting with Marion, he sits on her desk, and sensing that Marion is unhappy and feeling deprived with his talk of marriage, gloats about his wealth and his easing of life's pains through buy-offs: You know what I do about unhappiness? I buy it off. Are, uh, are you unhappy? Marion answers that she isn't "inordinately" unhappy - although she is uncomfortably reminded of her unmarried status and other deprivations. Then, the vulgar client takes out the $40,000 in cold, hard cash for the house purchase for his "respectable" married daughter as a wedding present, and boastfully waves and flops it around in front of his audience. He domineeringly explains how virile the money makes him: Now, that's, that's not buying happiness. That's just buying off unhappiness. I never carry more than I can afford to lose.

He tosses the money on Marion's desk, but the money is not for her - but for Cassidy's daughter's wedding dowry (although she is challenged and tempted by the money earmarked for a bride's house - she feels more entitled to it than the pampered daughter). It is an awkward, discomfiting sight for Marion who has just left her impecunious lover/partner whom she is unable to marry for lack of money. Caroline is astonished by Cassidy's brash proposition: "I declare!" Cassidy even brags about how he doesn't rightfully 'declare' his illicitly-obtained money to the government - an obvious illegality: "I don't. That's how I get to keep it." Lowery is worried about so much cash out in the open: "A cash transaction of this size is most irregular," but Cassidy assures him: "Aw, so what. It's my private money.

Now it's yours." [His transference of the 'dirty' private funds to Lowery suggests that Marion's boss may keep the cash transaction undeclared.] The loud-mouthed Cassidy embarrasses the real estate boss by exposing the presence of something else hidden away and unrevealed - a bottle in the desk in his office. He persuades Lowery to take him into the inner air-conditioned office for a drink. Lowery instructs Marion to put the large amount of cash in a bank's safe deposit box over the weekend: "I don't even want it in the office over the weekend. Put it in the safe deposit box in the bank." Caroline is jealous that Cassidy flirted with her colleague [Her 'respectable' marriage must be somewhat desperate and unfulfilling.]: He was flirting with you. I guess he must have noticed my wedding ring. Both women touch and handle the naughty, filthy money, and then Marion puts it into an envelope, wraps it up and sticks it in her purse. She is granted permission to go straight home after the bank deposit because of her headache.

Although she expects to be "in bed" all weekend, Cassidy thinks she needs an escape and propositions her with an invitation: What you need is a weekend in Las Vegas, the playground of the world! As she leaves, Marion refuses tranquilizers a second time from her co-worker: "You can't buy off unhappiness with pills." [But obviously, can't her unhappiness be bought off with money?] As she leaves the office, her shadow follows after her. In the next scene, Marion's shadow precedes her. In a moment of weakness and impulse, she has been tempted to bring the money home to her small bedroom instead of to the bank. (Her sister is away for the weekend in Tucson to "do some buying.") Again in partial undress wearing only a black bra and slip [after the theft, her underclothes turn black - signifying her darkness], Marion repeatedly and apprehensively eyes the money in a fat envelope lying on the bed (where she told Lowery and Cassidy she would spend the weekend). The camera zooms in and cuts back and forth to the envelope more than once. Next to it is her packed suitcase, ready for a trip.

[Behind her in this second bedroom in the film is another bathroom - this one with the shower head particularly noticeable. Also, more mirrors and windows and pictures looking down from the wall - two of her as a baby, another of her deceased parents. She has redirected the money intended by Cassidy for his "baby" to her own maternal instincts - her wish to be married to Sam, have respectable sex and raise a family.] She stares long and hard at herself in the dresser mirror. Although she appears casually indifferent and secure in the presence of the money, she nervously finishes packing and closes her full suitcase. She sits down on the bed, stares with desire at the money, and tries to stop herself from doing something she knows is shameful and wrong - something that is not "respectable." But she can't control her sinful, obsessive-compulsive behavior. Because her suitcase is already full and shut, she stuffs the envelope in her purse (with other important papers) and then leaves. While driving out of Phoenix toward Fairvale, California in her black car, Marion stares straight ahead and trance-like while imagining that she is on her way to elope with Sam with the large sum of cash with which to finance her elopement and marriage.

She hears a conversation with a startled Sam who is surprised to see her in Fairvale - with pilfered money for their salvation. His startled, echoing voice speaks in her head. With an uneasy reaction to her appearance, he would undoubtedly reject her solution to their problem: Marion, what in the world, what are you doing up here? Of course I'm glad to see you. I always am. What is it, Marion? Their conversation is cut short and interrupted. Significantly, she cannot finish talking with him. While waiting at a stoplight, her boss (and Cassidy) pass by in the cross-walk in front of her. He at first smiles and nods when recognizing her, and leaves the frame of the windshield. Likewise, she smiles - nervously. But then he stops, turns and furrows his brow at her. Mr. Lowery is puzzled and concerned to see her in her car when she was supposed to be home sick. Likewise, her face turns frozen after realizing that she has been caught. Bernard Herrmann's jarring music begins to play, slashing at her. She pulls away, gulps hard, and looks back - her conscience already gnawing away.

Unnerved but still drifting along irrationally, Marion drives her dark-toned car toward Fairvale from Phoenix and it turns to dusk and nighttime. She repeatedly looks into her rear-view mirror - symbolically checking out her own inner thoughts. She blinks her tired eyes and tries to avoid the glare of headlights of oncoming cars - spotlighting her crime. 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: Greatest Films of 1960 The Apartment (1960) , 125 minutes, D: Billy Wilder A Best Picture-winner - a classic, caustically-witty, satirically cynical, melodramatic comedy about corporate politics - and a bitter-sweet romance. In a bid to get ahead, an ambitious, lowly, misguided and young insurance clerk C. C. Baxter (Jack Lemmon) generously lent out the keys to his NYC apartment to his company's higher-up, philandering executives for romantic, adulterous, extra-marital trysts, including to his callous married boss J. D. Sheldrake (Fred MacMurray). Baxter's own budding crush toward his building's elevator operator - melancholy, and vulnerable Fran Kubelik (Shirley MacLaine) turned ugly when he discovered he had been outsmarted - she was the latest conquest of his boss - and had attempted suicide in his apartment. Baxter's next-door, philosophizing doctor/neighbor Dr.

Dreyfuss (Jack Kruschen) convinced Baxter to confront the craven ethics of his superiors - and he won the affections of Fran. L'Avventura (1960, It./Fr.) (aka The Adventure), 145 minutes, D: Michelangelo Antonioni The first part of a trilogy, followed by La Notte (1961, It./Fr.) (aka The Night) and L'Eclisse (1962, It./Fr.) (aka The Eclipse). Black Sunday (1960, It.) (aka La Maschera del Demonio, or The Mask of Satan), 87 minutes, D: Mario Bava Les Bonnes Femmes (1960, Fr./It.) (aka The Good Time Girls), 100 minutes, D: Claude Chabrol Chabrol's film was one of the French New Wave (Nouvelle Vague) films of its time (although never released in the US), and set in Paris (although photographed as drab and dingy).

The dark and cynical melodrama followed the exploits of four "good time girls," all shop-girl clerks in an electrical appliance store, as they sought love, excitement, freedom, and escape at nighttime. However, each one had very different aspirations in life. The four included carefree party-girl Jane (Bernadette Lafont), aspiring night-club singer Ginette (Stéphane Audran), and marriage-fixated/engaged and social-climbing Rita (Lucille Saint-Simon). The main protagonist, sweet, shy, demure and sensitive Jacqueline (Clotilde Joano), a hopeless and vulnerable romantic, was tragically drawn to a mysterious, black-leathered motorcyclist Andre (Mario David), who was stalking her. He was mistaken as her long-awaited Prince Charming and turned out to be her executioner.

A Bout De Souffle (1960, Fr.) (aka Breathless), 90 minutes, D: Jean-Luc Godard BUtterfield 8 (1960), 109 minutes, D: Daniel Mann La Dolce Vita (1960, It./Fr.) (aka The Sweet Life), 174 minutes, D: Federico Fellini Elmer Gantry (1960) , 146 minutes, D: Richard Brooks Eyes Without a Face (1960, Fr./It.) (aka Les Yeux Sans Visage), 88 minutes, D: Georges Franju Inherit the Wind (1960) , 127 minutes, D: Stanley Kramer This absorbing liberal "message" film portrayed the famous and dramatic courtroom Scopes "Monkey Trial" battle (in the sultry summer of 1925 in Dayton, Tennessee) between two famous lawyers (Clarence Darrow and William Jennings Bryan), who heatedly argued both sides of the case.

The film starred two major Oscar-winning giants and veterans of the cinema with remarkable career-high performances - Spencer Tracy (as Darrow- Henry Drummond) and Fredric March (as Bryan - Matthew Harrison Brady) - who had never before acted together in a film. Film-maker Stanley Kramer both produced and directed this film that modified and slightly disguised the historical event by changing the names of the prototypical characters and making them fictional figures, and placing the action in fictional Hillsboro, Tennessee. Its story centered around the issue of evolution vs. creationism and the prosecution of 24 year-old Tennessee teacher John T. Scopes (in the film, Bert Cates played by Dick York) for violating state law by teaching Darwin's theories of evolution in public schools. [In fact, Scopes deliberately agreed to challenge the Tennessee legislature's statutes and become the test case for the American Civil Liberties Union (ACLU) by teaching theories that denied the Biblical story of the divine creation of man.] The film's title was taken from the Biblical book of Proverbs 11:29: "He that troubleth his own house shall inherit the wind." Kramer's film was also designed as a protest against the repressive thinking of the 50s McCarthy era.

Much of the film's story (and dialogue), written into a screenplay by Nathan E. Douglas (Nedrick Young was the blacklisted screenwriter's real name) and Harold Jacob Smith, was based on the successful Broadway play (by Jerome Lawrence and Robert E. Lee) that first starred Paul Muni and Ed Begley. In the Tennessee town of Hillsboro, high school biology teacher Bertram Cates tested a state criminal statute that forbade the teaching of Darwin's theory of evolution. Three-time Presidential candidate and fundamentalist Matthew Brady was selected by the DA to prosecute the case. A media hoopla and hysterical frenzy was whipped up in the sweltering hot town by opposing forces. Cynical and sarcastic newspaper reporter E.K. Hornbeck (Gene Kelly cast against type) (portraying acid-penned writer/reporter H.L. Mencken) was behind the selection of notorious atheist Henry Drummond to defend the science teacher. At first, Drummond was frustrated by the trial, so he summoned Brady to the stand to interrogate him about his literal interpretations of the Bible. Through intense questioning, Brady was forced to admit that the Bible could be interpreted non-literally.

Brady's admission opened the door to the idea that evolution was consistent with Biblical teaching. However, the conservative jury convicted Cates, but the Judge (Henry Morgan) (to avoid further controversy) fined Cates only $100. As Brady gave one final religious defense as everyone dispersed, he had a stroke, collapsed and died. The Magnificent Seven (1960), 126 minutes, D: John Sturges Never on Sunday (1960, Greece/US) (aka Pote tin Kyriaki), 91 minutes, D: Jules Dassin Peeping Tom (1960, UK), 109 minutes, D: Michael Powell Psycho (1960) , 109 minutes, D: Alfred Hitchcock The greatest, most influential Hitchcock horror/thriller ever made and the progenitor of the modern Hollywood horror film, based on Robert Bloch's novel. A classic, low budget, manipulative, black and white tale that includes the most celebrated shower sequence ever made.

Worried about marital prospects after a lunch tryst with her divorced lover (John Gavin), blonde real estate office secretary Marion Crane (Janet Leigh) embezzles $40,000 and flees, stopping at the secluded off-road Bates Motel, managed by a nervous, amateur taxidermist son named Norman (Anthony Perkins). The psychotic, disturbed "mother's boy" is dominated by his jealous 'mother', rumored to be in the Gothic house on the hillside behind the dilapidated, remote motel. The story includes the untimely, violent murder of the main protagonist early in the film, a cross-dressing transvestite murderer, insanity, a stuffed corpse, and Oedipal Freudian motivations.

Rocco and His Brothers (1960, It./Fr.) (aka Rocco e i Suoi Fratelli), 177 minutes, D: Luchino Visconti Saturday Night and Sunday Morning (1960, UK), 90 minutes D: Karel Reisz Shoot the Piano Player (1960, Fr.) (aka Tirez Sur le Pianiste, or Shoot the Pianist), 80 minutes, D: François Truffaut Sons and Lovers (1960, UK), 103 minutes, D: Jack Cardiff Spartacus (1960), 185 minutes, D: Stanley Kubrick A somewhat dated, uneven historical costume (and sword and sandal) epic adapted by openly-credited, blacklisted screenwriter Dalton Trumbo (thereby breaking the abhorrent system) from left-leaning Howard Fast's 1952 fictionalized novel about a slave revolt in Rome between 73-71 BC.

This is the story of Thracian Spartacus (Kirk Douglas), first introduced as a slave in the Libyan mines who is sold to slave trader Lentulus Batiatus (Peter Ustinov), and becomes under his training a skilled gladiator. He is forced, for pure entertainment's sake, to fight to the death and kill fellow gladiator/friend Draba (Woody Strode). Growing resentment forces Spartacus to kill his captor-owner and instigate a revolt among his fellow slaves. He moves from town to town in the countryside and recruits freedom-fighting slaves along the way, threatening Rome itself and fueling a power struggle and in-fighting between two influential figures in the ruling class: the philosophical Roman senator Gracchus (Charles Laughton) and the power-hungry Roman general Marcus Crassus (Laurence Olivier). Eventually, Spartacus' forces are overwhelmed, and he is captured and marched to Rome, with Crassus desirous of the sexual favors of his wife Varinia (Jean Simmons).

During the film's production, there was a change of directors (from Anthony Mann (famous for El Cid (1961)) to Stanley Kubrick, who wasn't permitted his usual directorial freedom, resulting in a decidedly un-Kubrick-like film) and rampant ego clashes amongst the actors. Additionally, the Hayes Code removed, among other things, homosexual innuendo and various depictions of gore (such as severed limbs). The 1991 re-release of Spartacus restored much of what was cut from the film, including the notorious bathhouse scene featuring the sexual advances of Crassus toward slave servant-poet Antoninus (Curtis), with dialogue dubbed by Anthony Hopkins for the deceased Olivier: "Do you consider the eating of oysters to be moral and the eating of snails to be immoral?...

My taste includes both snails and oysters." Although anachronistic in costuming and accents, and overly long with some 'wooden' acting, Spartacus remains one of the more beloved and intelligent gladiator films (and a model for Ridley Scott's Gladiator (2000)), with such memorably powerful scenes as the large scale battles with thousands of extras, and the famous climax with the moving "I am Spartacus!" scene when Spartacus is crucified under orders of Crassus along with hundreds of other slaves, and a disguised Varinia risks capture to show him his infant son. The Sundowners (1960), 133 minutes, D: Fred Zinnemann The Time Machine (1960), 103 minutes, D: George Pal Two Women (1960, It./Fr.) (aka La Ciociara), 93/100 minutes, D: Vittorio De Sica The Virgin Spring (1960, Swe.) (aka Jungfrukällan), 89 minutes, D: Ingmar Bergman Set in medieval, 14th century Sweden.

Wealthy and religious land-owning farmers Töre (Max von Sydow) and Märeta (Birgitta Valberg) have only one surviving child - innocent, vain, naive and virginal daughter Karin (Birgitta Pettersson). Her jealous step-sister, pregnant maid-servant Ingeri (Gunnel Lindblom), invokes a pagan curse upon Karin after praying to the Norse deity Odin. During a journey to the nearest village's church on the celebrated day of Our Lady of Virgins, Karin is assaulted by a group of goatherd brothers, two adults and an adolescent, and is ultimately raped and murdered. The crime is witnessed by Ingeri. The three find refuge at Töre's farm for food and shelter, where he learns of their deadly assault and avenges his daughter's murder. The same plot served as the basis for Wes Craven's horror film The Last House on the Left (1972).

Question: Marion Crane was the name of the leading female character of which famous film of The 1960’s ?
Answer: PSYCHO