Psycho (1960) Scene Analysis

The classic horror film Psycho (1960), directed by Alfred Hitchcock, is one of the clearest examples of the Master of Suspense’s mastery of suspense. In this analysis of the parlor scene, Hitchcock’s ability to subtly introduce tension into a scene is displayed through his choices made in shot size, lighting, editing, sound, and more.

[xtrashocking]

i was shocked at the low viewcount, good editing and voiceover

[f.o.c.s.]

Alfred Hitchcock's classic movie "PSYCHO" 1960. The famous or infamous and often parodied Shower scene, was shot on the 17th to the 23rd of December 1959. Containing as it does the most iconic corpse stare in cinema history.

[cheetos]

all that taxidermy shit in the background of 1:27 looks so chaotic in contrast with how relatively neat and orderly Marion's immediate surroundings look. I couldn't even tell it was a bunch of taxidermied birds until you mentioned it. It just looked like a black mass behind Norman's head. I'm probably reading too deeply but it does feel like a representation of two very contrasting psyches.

[huntercoleman]

I just love this scene. While Marion learns about Norman, we learn along with her. If you think about it, Marion is like a mouse and Norman is the bird or prey who can’t get it. He wants her but Mother won’t let him. Mother would do anything to make sure Norman has the mentality of a little boy and by killing Marion, Norman could remain his innocent childlike self. I also think Marion could tell Norman had feelings her her. She’s probably been flirted and gawked at many times in her life by men so she sees the signs.

[thiruvengadam]

I simply admire the way Antony Perkins played Norman Bates.

[mikep]

You have to admit Hitchcock did play fair. They DID lay hints that Norman could be the killer early on...

[Michael_Underhill]

Great video man, it deserves so much more attention. It really makes me appreciate and understand Hitchcock's directing a lot more and helps to explain why I love this scene so much. Well done!

[selvimafora]

The individual birds have meaning such as the owl being a predatory bird opposed to the bird situated next to Marion

[cringeworthy]

Anyone else from the 'We Choose Our Fate' MAP or Bastille's No Angels?

[ThePiratemachine]

For me Vera Miles' Lila is the pivot character of the film. It could be interpreted that in a metaphysical way she is the resurrected Marion solving her own murder. In any case it is Lila's persistence that solves a lot of what happened. Her scenes in Norman's mother's bedroom and the cellar are terrific - and her scream - well, what a Scream Queen Vera Miles can be. For me that scene is far superior to the shower scene which IMO is a pretty horrible scene to put on film.

[ivandesantis]

Excellent description on the use of light and shadows. I always laugh and snicker when Tarantino tries to include himself on a level with Hitchcock or Kubrick . Nowhere near those guys

[huntercoleman]

I also liked the peeping scene where Norman watches Marion undress. He’s clearly aroused by her and I like we don’t see Marion completely undress. One of the things I like about Psycho is there’s hardly any nudity. We didn’t need to see Marion’s entire body when she’s showering. We know what a naked woman looks like. I hate how modern horror movies have a lot of nudity. Don’t you agree?

[johnryskamp]

This scene is an example of Hitchcock--and whodunits generally--telling you what is really going on. But neither Marian nor the first time viewer, is able to grasp what is really going on.

IMPORTANT FACTS

Norman is about 24.

10 years prior to this scene, Mother died.

WHAT NORMAN WANTS MARIAN TO BELIEVE

Norman says his Mother is mentally ill, and that he thought of putting her in an insame asylum. However, he has visited an asylum, and it was so awful--he describes the interior in graphic detail--that he could not bring himself to commit her.

THE PROBLEM

The latest moment he could have visited the asylum, he would have been about 14 (24 - 10). At that point, however, he would have been a child, and would not have had the authority to commit her, nor, probably, did he think of doing so.

So what really happened?

THE ANSWER

From Norman's ability to describe the asylum in detail, it's clear he has been in an asylum. How did he get there? Answer: HE did not commit his Mother, his MOTHER commited HIM.

Or at least threatened to do so by showing him the place, hoping it would change his behavior (note that the end of the film, the psychiatrist concludes that even before Mother's death, Norman was "already deeply disturbed"). Note also that in the last scene, "Mother" says: They'll put him away now, as I should have years ago." This is probably a reference to her visit to the asylum with Norman.

But Marian doesn't know enough facts to be able to understand that he is not telling her the truth. By the time the Sheriff reminds Sam of Mother's death ten years previously, Marian is dead. However, the viewer is not dead, and a true student of whodunits, seeing the film for the first time, deserves real praise if she or he can note the ten year timeframe, apply it to Norman's story about the asylum, and realize that Norman must be the killer--if for no other reason than that there is no other person around who could have killed Marian. It will take a real genius to conclude, from Norman's comments about stuffing birds, that Norman is the voice of Mother and that her preserved corpse is in the house.

Marian is given another warning during this meeting. At one point, Norman says of Mother, "She's weak." Marian, trying to be helpful, says, "She sounds strong." Of course she sounds strong, because she IS strong: she's sitting right in front of Marian! Again, however, Marian doesn't know enough facts to be able to draw this conclusion.

Finally, Marian doesn't realize, when she says that maybe Norman should think of putting her "someplace, " that not only has she sealed her fate by making that suggestion, but also, that she has unwittingly revealed part of the narrative. Norman has indeed put Mother "someplace"--she's up at the house!

Again, however, she