Joseph Stefano was the winner of the 1960 Edgar Allan Poe Award for Best Screenplay.Hitchcock insisted that no one be allowed to enter the theater after the film had started.Gus Van Zant directed a shot-by-shot remake of PSYCHO in 1998. PSYCHO was followed by PSYCHO II (1983), directed by Richard Franklin PSYCHO III (1986), directed by Anthony Perkins and PSYCHO IV: THE BEGINNING (1990), directed by Mick Garris.PSYCHO was added to the Library of Congress National Film Registry in 1992.PSYCHO is number 18 on the American Film Institute's list of America's 100 Greatest Movies.Hitchcock cameo: Hitchcock can be seen through the window in Janet Leigh's office, wearing a cowboy hat.Though it is now considered prototypical Hitchcock, its setting, pace, and emphasis on terror were major departures for the director at the time, coming after the more classically grand NORTH BY NORTHWEST. PSYCHO was initially received by audiences with shock and amazement-and it still terrifies today. But Momma doesn't like loose women, so the stage is set for this classic tale of horror-and one of the most famous scenes in film history. The young, well-intentioned Bates is introduced to the audience when Marion Crane (Janet Leigh), a blonde on the run with stolen money, checks in for the night. Bates presides over an out-of-the-way motel under the domineering specter of his mother. However, Hitchcock's black-and-white original, featuring Anthony Perkins's haunting characterization of lonely motel keeper Norman Bates, has never been equaled. Alfred Hitchcock's choreography of elements in PSYCHO is considered so perfect it inspired a shot-by-shot remake by Gus Van Zant in 1998.
Psycho 1998 español full#
Critics and audiences remain transfixed by Psycho’s storytelling verve and its queasy tonal shifts (murder mystery to black comedy to horror).ĭouglas Gordon’s 1993 art installation 24 Psycho slowed the film down to last a full day.Credited with inventing the genre of the modern horror film, PSYCHO has had its share of sequels and imitators, none of which diminishes the achievement of this shocking and complex horror thriller. Its reputation has only grown since 1960. Even people who have never seen the film instantly recognise his score.Īnd Anthony Perkins, typecast forever after as the nervous mother’s boy with a dark secret, crafts a performance that is both sweetly disarming and deeply unsettling. Saul Bass’s opening credits, all intersecting lines and sans-serif titles, anticipate the film’s fixation with duality and overlap.īudget constraints meant that Bernard Herrmann could only rely on his orchestra’s string section. Other elements contributed to Psycho’s enduring influence. Grossing US$32 million (equivalent to A$468 million today) off a budget of US$800,000 (A$12 million today), Psycho made Hitchcock a very wealthy man. There were queues around the blocks in cities across America as word of mouth grew. While the reviews at the time of its cinema release were lukewarm, cinema as an “event”, as a communal experience shared by hundreds of people in the dark, began. As Leigh slides down the blinding white tiles, arm outstretched, a new kind of cinema is born: twisted, shocking, primal. Up to that point, no film had killed off its lead character so early in the story (nowadays, such an audacious twist shows up everywhere, from The Lion King to Games of Thrones). It’s the most famous of all bait and switches: you expect one thing, but get another. In one 60-second scene, Hitchcock shatters all the rules. Everything is implied, through liberal doses of chocolate sauce, hacked watermelons, Bernard Herrmann’s screeching violins, and Leigh’s blood-curdling screams. Hitchcock, the master of suspense, never actually shows knife slicing flesh. Marion steps into the shower, a shadowy figure rips back the curtain, and cinema’s most visceral scene unspools, brutally, before our very eyes. Nowhere is Hitchcock’s brazen censor-defying clearer than in Psycho’s “shower scene”. Over his career, Hitchcock had always flouted Hollywood’s Production Code, those rigid rules that had been in place since the 1930s that prohibited onscreen nudity, sex and violence. A post-coital Leigh, lying on a bed, dressed only in white underwear, while Gavin stands topless over her.Īll of Hitchcock’s trademark obsessions are on show: voyeurism, the dominant matriarchal figure, the blonde heroine, the untrustworthy cop. He read Robert Bloch’s novel Psycho – itself inspired by the real-life Wisconsin killer Ed Gein – and optioned the film rights.Īudiences saw things in Psycho that had never been shown before on screen. ‘She just goes … a little mad sometimes.’ Thriller with a twistĪ few years earlier, Hitchcock had watched Henri-Georges Clouzot’s 1955 psychological masterpiece Les Diaboliques and sought out a similar project – a horrific thriller with a twist ending.
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