Pyscho changed the way America looked at movies, and how much they really could tolerate while sitting in them. For the majority, Psycho liberated the isolated horror genre, and created a world of mystery and deceit worth the price of a ticket. In Psycho, Alfred Hitchcock weaves together a story in parts consisting of different characters and their points of view. The first is the unassuming Marion Crane, played by Janet Leigh, who steals money from her work and skips town in a hurry, only to find crossing the street her boss, his eyes prying into her guilt-stricken face; their she meets the cinema famous Norman Bates, played by Anthony Perkins, who acts suspiciously, and then, murderously.
The main suspicion in the movie, placed almost subliminally by Hitchcock by way of the winding stairs on the hill, is the house where Norman’s mother resides. We see the silhouette of her torso and head in the top-left window, but never are the characters directly greeted by her. And while her mystery is peculiar, so is her son Norman’s behavior, who has an eerie boyish, suppressed attitude; he seems to be easily over-run and maybe vulnerable. He cleans, replaces towels, and sustains the motel, even when he knows that they are located in such a desolate, rarely-visited place.
The rain pounding on the car, the windshield fiercely swiping it aside, is a classic scene of paranoia, and we feel almost in the mind of Marion, so intimate and revealing on an endless road of perturbed thoughts. Who knows what Hitchcock was trying to say about karma, but it must have been something. He displays several static shots of fear, like Norman’s bird collection, which somewhat wrongfully seems like a warning of his illness, though their is nothing really wrong with hunting birds. And then, the legendary shower scene itself, the moment where Marion is truly taken over. The rest of the film involves finding what has caused her to go missing, with our consciousness now streaming with the horror of the hotel, a form of dramatic irony for the horror genre.
Lila Crane, played by Vera Miles, and Sam Loomis, Lila’s boyfriend played by John Gavin, are now privately investigating the hotel, the sort of unknowing terror that modern horror films manipulate, in a more characteristically ignorant manner. The film is a masterpiece of terror and suspense, a convention-bending Hitchcock movie that won’t be forgotten in the swamps or the drain.