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Psycho (1960 film)

 Psycho

Theatrical release posterDirected by Alfred Hitchcock

Produced by Alfred Hitchcock

Screenplay by Joseph Stefano

Based on  Psychoby Robert Bloch

Starring Anthony PerkinsJanet LeighVera MilesJohn Gavin

Martin BalsamJohn McIntire

Music by Bernard Herrmann

Cinematography John L. Russell

Editing by George Tomasini

Studio Shamley Productions

Distributed by Paramount Pictures(Original)

Universal Pictures(Later releases)

Release date(s) •• June 16, 1960

Running time 109 minutes

Country United States

Language English

Budget $806,947

Box office $50,000,000

 Psycho is a 1960 American suspense/horror film directed by Alfred Hitchcock starring Anthony Perkins, Vera Miles,

John Gavin, and Janet Leigh. The screenplay is by Joseph Stefano, based on the 1959 novel of the same name by

Robert Bloch loosely inspired by the crimes of Wisconsin murderer and grave robber Ed Gein.[1]

The film centers on the encounter between a secretary, Marion Crane (Leigh), who ends up at a secluded motel after

embezzling money from her employer, and the motel's disturbed owner-manager, Norman Bates (Perkins), and its

aftermath.[2] When originally made, the film was seen as a departure from Hitchcock's previous film  North by

 Northwest , being filmed on a low budget, with a television crew and in black and white.  Psycho initially received

mixed reviews, but outstanding box office returns prompted reconsideration which led to overwhelming critical

acclaim and four Academy Award nominations, including Best Supporting Actress for Leigh and Best Director for

Hitchcock.

It is now considered one of Hitchcock's best films[3] and praised as a work of cinematic art by international film

critics and film scholars. Ranked among the greatest films of all time, it set a new level of acceptability for violence,deviant behavior and sexuality in American films.[4] After Hitchcock's death in 1980, Universal Studios began

producing follow-ups: three sequels, a remake, a television movie spin-off and a TV series.

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In 1992, the film was selected for preservation by the US Library of Congress at the National Film Registry.

Plot

Marion Crane (Janet Leigh) and her boyfriend Sam Loomis meet for a secret romantic rendezvous during lunch hour

at a hotel in Phoenix, Arizona. They talk about how they can barely afford to get married. Upon Marion's return to

work at a realtor's office, a client comes in with $40,000 in cash to purchase a house for his daughter. The money isentrusted to Marion, who decides to steal it and skip town.

On the road, she pulls over to sleep and is awoken by a policeman who detects that something is wrong. The

policeman lets her go, but upon arriving in another town, Marion pulls into a used car dealership and hastily

exchanges her car for another one. Driving during a rainy night, Marion pulls up to the Bates Motel, a remote

lodging that has recently lost business due to a diversion of the main highway. The proprietor, youthful but nervous

Norman Bates (Anthony Perkins) invites her to a light dinner in the parlor. Norman discloses that his mother is

mentally ill, but he becomes irate and bristles when Marion suggests that she be institutionalized. The conversation

induces Marion to decide to return to Phoenix and return the stolen money. Marion later takes a shower in her room,

during which a shadowy figure comes and stabs her to death. Norman bursts into the bathroom and discovers

Marion's dead body. He wraps the body in the shower curtain and cleans up the bathroom. He puts Marion's body in

her car and sinks her car in a nearby swamp.

In Phoenix, Marion's sister, Lila, and her boyfriend Sam Loomis are concerned about Marion's disappearance. A

detective named Arbogast confirms she is suspected of having stolen $40,000 from her employer. Arbogast

eventually finds the Bates Motel. Norman's evasiveness and stammering arouse his suspicions. Arbogast later enters

the Bates' residence, looking for Norman's mother. A figure emerges from her room and murders Arbogast.

Fearing something has happened to Arbogast, Sam and Lila go to the town of Fairvale and talk with the local sheriff.

He is puzzled by the detective's claim that he was going to talk to Norman's mother and states that Mrs. Bates died

years ago, along with her lover, in a murder-suicide. Norman, seen from above, carries his mother down to the cellar

of their house as she verbally protests the arrangement.Sam and Lila rent a room at the Bates Motel and discover the cabin Marion stayed in. Lila explores it and finds a

scrap of paper with "$40,000" written on it, and notes that the bathtub has no shower curtain. Sam distracts Norman

while Lila sneaks into the house, looking for Mrs. Bates. Norman subdues Sam and chases Lila. Seeing Norman

approaching, Lila hides in the cellar and discovers Mrs. Bates sitting in a rocking chair. The chair rotates to reveal a

desiccated corpse, the preserved body of Mrs. Bates. Norman enters the basement, wearing a dress and wig while

wielding a large knife, revealing Norman to be the murderer all along. Sam enters and saves Lila.

After Norman's arrest, a psychiatrist who interviewed Norman reveals that Norman had murdered his mother and her

lover years ago, and later developed a split personality to erase the crime from his memory. At times, he is able to

function as Norman, but other times the mother personality completely dominates him. Norman is now locked into

his mother's identity permanently. Mrs. Bates, in a voice-over, talks about how harmless she is and how it was really

Norman, not she, who committed the murders. The final scene shows Marion's car being recovered from the swamp.

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Cast

• Anthony Perkins – Norman Bates

• Janet Leigh – Marion Crane

• Vera Miles – Lila Crane (Marion's sister)

• John Gavin – Sam Loomis (Marion's boyfriend)

• Martin Balsam – Det. Milton Arbogast• John McIntire – Sheriff Al Chambers

• Simon Oakland – Dr. Fred Richmond

• Frank Albertson – Tom Cassidy

• Pat Hitchcock – Caroline

• Vaughn Taylor – George Lowery

• Lurene Tuttle – Mrs. Chambers

• John Anderson – California Charlie

• Mort Mills – Highway Patrol Officer

Uncredited

• Virginia Gregg, Jeanette Nolan, and Paul Jasmin – Voice of Norma Bates (Norman's mother)

• Ted Knight – A policeman guarding Norman Bates

The success of  Psycho jump-started Perkins' career, but he soon began to suffer from typecasting.[5] However, when

Perkins was asked whether he would have still taken the role knowing that he would be typecast afterward, he

replied with a definite "yes".[6]

Until her death, Leigh continued to receive strange and sometimes threatening calls, letters, and even tapes detailing

what they would like to do to Marion Crane. One letter was so "grotesque" that she passed it along to the FBI, two of 

whose agents visited Leigh and told her the culprits had been located and that she should notify the FBI if she

received any more letters of that type.[7]

Norman's mother was voiced by Virginia Gregg, Paul Jasmin and Jeanette Nolan, who also provided some screams

for Lila's discovery of the mother's corpse. The three voices were thoroughly mixed, except for the last speech,

which is all Gregg's.[8]

Anne Dore was chosen by Alfred Hitchcock to double for Anthony Perkins in the shower sequence in  Psycho, since

he did not want any of Perkins's physicality to betray his identity at that point in the film. Dore wore the mother's

costume and did all the stabbing actions.

Production

Development

 Psycho is based on the 1959 novel by Robert Bloch, also called  Psycho, loosely based on the case of convicted

Wisconsin murderer Ed Gein.[9] Both Gein, who lived just 40 miles from Bloch, and the story's protagonist, Norman

Bates, were solitary murderers in isolated rural locations. Each had deceased domineering mothers, sealed off a room

in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly

considered a serial killer, having been charged with murder only twice.[10]

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The Psycho set on the Universal lot, featuring a 1959 Ford Custom 300 similar to that

driven by Janet Leigh in the film (the car in the film is a '57 model)

Peggy Robertson, Hitchcock's

long-time assistant, read Anthony

Boucher's positive review of the Bloch

novel and decided to show the book to

him, even though studio readers at

Paramount Pictures had alreadyrejected its premise for a film.

Hitchcock acquired rights to the novel

for $9,500[11] and reportedly ordered

Robertson to buy up copies to preserve

the novel's surprises.[12] Hitchcock,

who had come to face genre

competitors whose works were critically compared to his own, was seeking new material to recover from two

aborted projects with Paramount, Flamingo Feather and No Bail for the Judge. He disliked stars' salary demands and

trusted only a few people to choose prospective material, including Robertson.[13]

Paramount executives balked at Hitchcock's proposal and refused to provide his usual budget.[] In response,

Hitchcock offered to film Psycho quickly and inexpensively in black and white using his  Alfred Hitchcock Presents

television series crew. Paramount executives rejected this cost-conscious approach, claiming their sound stages were

booked even though the industry was in a slump. Hitchcock countered he would personally finance the project and

film it at Universal-International using his Shamley Productions crew if Paramount would merely distribute. In lieu

of his usual $250,000 director's fee he proposed a 60% stake in the film negative. This combined offer was accepted

and Hitchcock went ahead in spite of naysaying from producer Herbert Coleman and Shamley Productions executive

Joan Harrison.[14]

Novel adaptationJames P. Cavanagh, a writer on the  Alfred Hitchcock Presents television series, penned the original screenplay.[15]

Hitchcock felt the script dragged and read like a television short horror story, [16] an assessment shared by an

assistant.[15] Though Stefano had worked on only one film before, Hitchcock agreed to meet with him; despite

Stefano's inexperience the meeting went well and he was hired.[15]

The screenplay is relatively faithful to the novel, with a few notable adaptations by Hitchcock and Stefano. Stefano

found the character of Norman Bates — who, in the book, is middle-aged, overweight, and more overtly unstable —

unsympathetic, but became more intrigued when Hitchcock suggested casting Anthony Perkins.[16] Stefano

eliminated Bates' drinking,[] which evidently necessitated removing Bates' "becoming" the Mother personality when

in a drunken stupor. Also gone is Bates' interest in spiritualism, the occult and pornography. [17] Hitchcock and

Stefano elected to open the film with scenes in Marion's life and not introduce Bates at all until 20 minutes into the

film, rather than open with Bates reading a history book as Bloch does.[] Indeed, writer Joseph W. Smith notes that,

"Her story occupies only two of the novel's 17 chapters. Hitchcock and Stefano expanded this to nearly half the

narrative".[18] He likewise notes there is no hotel tryst between Marion and Sam in the novel. For Stefano, the

conversation between Marion and Norman in the hotel parlor in which she displays a maternal sympathy towards

him makes it possible for the audience to switch their sympathies towards Norman Bates after Marion's murder. [19]

When Lila Crane is looking through Norman's room in the film she opens a book with a blank cover whose contents

are unseen; in the novel these are "pathologically pornographic" illustrations. Stefano wanted to give the audience

"indications that something was quite wrong, but it could not be spelled out or overdone." [19] In his book of 

interviews with Hitchcock, François Truffaut notes that the novel "cheats" by having extended conversations

between Norman and "Mother" and stating what Mother is "doing" at various given moments.[20] For obvious

reasons, these were omitted from the film.

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The first name of the female protagonist was changed from Mary to Marion, since a real Mary Crane existed in

Phoenix.[21] Also changed is the novel's budding romance between Sam and Lila. Hitchcock preferred to focus the

audience's attention on the solution to the mystery,[22] and Stefano thought such a relationship would make Sam

Loomis seem cheap.[19] Instead of having Sam explain Norman's pathology to Lila, the film uses a psychiatrist. [23]

(Stefano was in therapy dealing with his relationship with his own mother at the time of writing the film.)[24] The

novel is more violent than the film; for instance, Crane is beheaded in the shower as opposed to being stabbed to

death.[15] Minor changes include changing Marion's telltale earring found after her death to a scrap of paper that

failed to flush down the toilet. This provided some shock effect, since toilets were virtually never seen in American

cinema in the 1960s.[25] The location of Arbogast's death was moved from the foyer to the stairwell. Stefano thought

this would make it easier to conceal the truth about "Mother" without tipping that something was being hidden. [26]

As Janet Leigh put it, this gave Hitchcock more options for his camera.[23]

Pre-production

Paramount, whose contract guaranteed another film by Hitchcock, did not want Hitchcock to make  Psycho.

Paramount was expecting No Bail for the Judge starring Audrey Hepburn, who became pregnant and had to bow out,

leading Hitchcock to scrap the production. Their official stance was that the book was "too repulsive" and"impossible for films", and nothing but another of his star-studded mystery thrillers. [11][] They did not like "anything

about it at all" and denied him his usual budget.[11][] So, Hitchcock financed the film's creation through his own

Shamley Productions, shooting at Universal Studios under the Revue television unit.[][27] Hitchcock's original Bates

Motel and Psycho House movie set buildings, which were constructed on the same stage as Lon Chaney Sr.'s The

 Phantom of the Opera, are still standing at Universal Studios in Universal City near Hollywood and are a regular

attraction on the studio's tour.[28][29] As a further result of cost cutting, Hitchcock chose to film Psycho in black and

white, keeping the budget under $1,000,000.[30] Other reasons for shooting in black and white were his desire to

prevent the shower scene from being too gory and his admiration for Les Diaboliques's use of black and white.[31][32]

To keep costs down and because he was most comfortable around them, Hitchcock took most of his crew from his

television series Alfred Hitchcock Presents, including the cinematographer, set designer, script supervisor, and firstassistant director.[33] He hired regular collaborators Bernard Herrmann as music composer, George Tomasini as

editor, and Saul Bass for the title design and storyboarding of the shower scene. In all, his crew cost $62,000. [34]

Through the strength of his reputation, Hitchcock cast Leigh for a quarter of her usual fee, paying only $25,000 (in

the 1967 book  Hitchcock/Truffaut , Hitchcock said that Leigh owed Paramount one final film on her seven-year

contract which she had signed in 1953).[35] His first choice, Leigh agreed after having only read the novel and

making no inquiry into her salary.[21] Her co-star, Anthony Perkins, agreed to $40,000.[34] Both stars were

experienced and proven box-office draws.

Paramount did distribute the film, but four years later Hitchcock sold his stock in Shamley to Universal's parent

company and his next six films were made at and distributed by Universal.

[27]

After another four years, Paramountsold all rights to Universal.[27]

Filming

The film, independently produced and financed by Hitchcock, was shot at Revue Studios,[36] the same location as his

television show. Psycho was shot on a tight budget of $806,947.55,[37] beginning on November 11, 1959 and ending

on February 1, 1960.[38][39] Filming started in the morning and finished by six or earlier on Thursdays (when

Hitchcock and his wife would dine at Chasen's). [40] Nearly the whole film was shot with 50 mm lenses on 35 mm

cameras. This trick closely mimicked normal human vision, which helped to further involve the audience.[41]

Before shooting began in November, Hitchcock dispatched assistant director Hilton Green to Phoenix to scout

locations and shoot the opening scene. The shot was supposed to be an aerial shot of Phoenix that slowly zoomedinto the hotel window of a passionate Marion and Sam. Ultimately, the helicopter footage proved too shaky and had

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to be spliced with footage from the studio.[42] Another crew filmed day and night footage on Highway 99 between

Fresno and Bakersfield, California for projection when Marion drives from Phoenix. They also provided the location

shots for the scene in which she is discovered sleeping in her car by the highway patrolman. [42] In one street scene

shot in downtown Phoenix, Christmas decorations were discovered to be visible; rather than re-shoot the footage,

Hitchcock chose to add a graphic to the opening scene marking the date as "Friday, December the Eleventh".[43]

Edward Hopper's The House by the Railroad ,

used as inspiration for the look of the Bates

house.

Green also took photos of a prepared list of 140 locations for laterreconstruction in the studio. These included many real estate offices

and homes such as those belonging to Marion and her sister. [42] He

also found a girl who looked just like he imagined Marion and

photographed her whole wardrobe, which would enable Hitchcock to

demand realistic looks from Helen Colvig, the wardrobe supervisor.[42]

The look of the Bates house was modeled on Edward Hopper's painting

The House by The Railroad .[44]

Both the leads, Perkins and Leigh, were given freedom to interpret

their roles and improvise as long as it did not involve moving the

camera.[45] An example of Perkins' improvisation is Norman's habit of eating candy corn.[46]

Throughout filming, Hitchcock created and hid various versions of the

"Mother corpse" prop in Leigh's dressing room closet. Leigh took the joke well, and she wondered whether it was

done to keep her on edge and thus more in character or to judge which corpse would be scarier for the audience. [47]

During shooting, Hitchcock was forced to uncharacteristically do retakes for some scenes. The final shot in the

shower scene, which starts with an extreme close-up on Marion's eye and pulls up and out, proved very difficult for

Leigh, since the water splashing in her face made her want to blink, and the cameraman had trouble as well since he

had to manually focus while moving the camera.[45] Retakes were also required for the opening scene, since

Hitchcock felt that Leigh and Gavin were not passionate enough.[48]

Leigh had trouble saying "Not inordinately" forthe real estate office scene, requiring additional retakes.[49] Lastly, the scene in which the mother is discovered

required complicated coordination of the chair turning around, Miles hitting the light bulb, and a lens flare, which

proved to be the sticking point. Hitchcock forced retakes until all three elements were to his satisfaction.[50]

According to Hitchcock, a series of shots with Arbogast going up the stairs in the Bates house before he is stabbed

were directed by Hilton Green, working with storyboard artist Saul Bass' drawings only while Hitchcock was

incapacitated with the common cold. However, upon viewing the dailies of the shots, Hitchcock was forced to scrap

them. He claimed they were "no good" because they did not portray "an innocent person but a sinister man who was

going up those stairs".[] Hitchcock later re-shot the scene, though a little of the cut footage made its way into the

film. Filming the murder of Arbogast proved problematic owing to the overhead camera angle necessary to hide the

film's twist. A camera track constructed on pulleys alongside the stairway together with a chairlike device had to beconstructed and thoroughly tested over a period of weeks.[51]

Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Psycho, he can be seen through a window

 – wearing a Stetson hat  –  standing outside Marion Crane's office.[52] Wardrobe-mistress Rita Riggs has said that

Hitchcock chose this scene for his cameo so that he could be in a scene with his daughter (who played one of 

Marion's colleagues). Others have suggested that he chose this early appearance in the film in order to avoid

distracting the audience.[53]

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Shower scene

The murder of Janet Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of 

cinema. As such, it spawned numerous myths and legends. It was shot from December 17 to December 23, 1959,

and features 77 different camera angles.[54] The scene "runs 3 minutes and includes 50 cuts." [] Most of the shots are

extreme close-ups, except for medium shots in the shower directly before and directly after the murder. The

combination of the close shots with their short duration makes the sequence feel more subjective than it would havebeen if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as

"transferring the menace from the screen into the mind of the audience".[55]

In order to capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner

holes on the spout were blocked and the camera placed farther back, so that the water appears to be hitting the lens

but actually went around and past it.[56]

The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard

Herrmann titled "The Murder". Hitchcock originally intended to have no music for the sequence (and all motel

scenes),[57] but Herrmann insisted he try his composition. Afterward, Hitchcock agreed it vastly intensified the

scene, and nearly doubled Herrmann's salary.[58][59][60] The blood in the scene is reputed to have been Bosco

chocolate syrup,[61] which shows up better on black-and-white film, and has more realistic density than stage

blood.[1] The sound of the knife entering flesh was created by plunging a knife into a casaba melon.[62][63]

There are varying accounts whether Leigh was in the shower the entire time or a body double was used for some

parts of the murder sequence and its aftermath. In an interview with Roger Ebert and in the book  Alfred Hitchcock 

and the Making of Psycho, Leigh stated she was in the scene the entire time and Hitchcock only used a stand-in for

the sequence in which Norman wraps Marion's body in a shower curtain and places it in the trunk of her car.[64] The

2010 book The Girl in Alfred Hitchcock's Shower by Robert Graysmith contradicts this, identifying Marli Renfro as

Leigh's body double for some of the shower scene's shots.[65]

A popular myth emerged that in order for Leigh's scream in the shower to sound realistic ice-cold water was used.

Leigh denied this on numerous occasions, saying the crew was very accommodating supplying hot water throughoutthe week-long shoot.[66] All of the screams are Leigh's.[8]

Another myth holds Hitchcock only told Leigh to stand in the shower and she had no idea her character was going to

be murdered, causing an authentic reaction.[citation needed ]

Another concerns Saul Bass, the graphic designer who created many of the title sequences of Hitchcock's films and

storyboarded some of  Psycho's scenes, claiming he had directed the shower scene. This was refuted by several

figures associated with the film, including Leigh, who stated, "...absolutely not! I have emphatically said this in any

interview I've ever given. I've said it to his face in front of other people... I was in that shower for seven days, and,

believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots."[67] Hilton

Green, the assistant director, also refutes Bass' claim: "There is not a shot in that movie that I didn't roll the camera

for. And I can tell you I never rolled the camera for Mr. Bass." [67] Roger Ebert, a longtime admirer of Hitchcock's

work, summarily dismissed the rumor, stating, "It seems unlikely that a perfectionist with an ego like Hitchcock's

would let someone else direct such a scene."[68]

However, commentators such as Stephen Rebello and Bill Krohn have argued in favor of Bass' contribution to the

scene in his capacity as visual consultant and storyboard artist.[69] Along with designing the opening credits, Bass is

termed "Pictorial Consultant" in the credits. When interviewing Hitchcock in 1967, François Truffaut asked about

the extent of Bass' contribution, to which Hitchcock replied that in addition to the titles Bass had provided

storyboards for the Arbogast murder (which he claimed to have rejected), but made no mention of Bass providing

storyboards for the shower scene.[70] According to Bill Krohn's Hitchcock At Work , Bass' first claim to have directed

the scene was in 1970, when he provided a magazine with 48 drawings used as storyboards as proof of hiscontribution.[]

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Krohn's analysis of the production of  Psycho in his book Hitchcock at Work , while refuting Bass' claims for directing

the scene, notes that these storyboards did introduce key aspects of the final scene —most notably, the fact that the

killer appears as a silhouette, and details such as the close-ups of the slashing knife, Leigh's desperate outstretched

arm, the shower curtain being torn down, and the transition from the hole of the drainage pipe to Marion Crane's

dead eyes. Krohn notes that this final transition is highly reminiscent of the iris titles that Bass created for Vertigo.[]

Krohn's research also notes that Hitchcock shot the scene with two cameras: one a BNC Mitchell, the other ahandheld camera called an Éclair which Orson Welles had used in Touch of Evil (1958). In order to create an ideal

montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he

trimmed down in the editing room. He even brought a Moviola on the set to gauge the footage required. The final

sequence, which his editor George Tomasini worked on with Hitchcock's advice, however did not go far beyond the

basic structural elements set up by Bass' storyboards.[]

According to Donald Spoto in The Dark Side of Genius, Hitchcock's wife, Alma Reville, spotted a blooper in one of 

the last screenings of  Psycho before its official release: after Marion was supposedly dead, one could see her blink.

According to Patricia Hitchcock, talking in Laurent Bouzereau's "making of" documentary, Alma spotted that

Leigh's character appeared to take a breath. In either case, the postmortem activity was edited out and was never seen

by audiences.[15] Although Marion's eyes should be dilated after her death, the contact lenses necessary for this effectwould have required six weeks of acclimatization to wear them, so Hitchcock decided to forgo them.[71]

It is often claimed that, despite its graphic nature, the "shower scene" never once shows a knife puncturing

flesh.[72][][73] However, a frame by frame analysis of the sequence shows one shot in which the knife appears to

penetrate Leigh's abdomen, but the effect may have been created by lighting and reverse motion.[74] Leigh herself 

was so affected by this scene when she saw it, that she no longer took showers unless she absolutely had to; she

would lock all the doors and windows and would leave the bathroom and shower door open.[75] She never realized

until she first watched the film "how vulnerable and defenseless one is".[15]

Leigh and Hitchcock fully discussed what the scene meant:

"Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped intothe bathtub it was as if she were stepping into the baptismal waters. The spray beating down on her was

purifying the corruption from her mind, purging the evil from her soul. She was like a virgin again, tranquil, at

peace".[67]

Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the

"alienation effect" of killing off the "apparent center of the film" with which spectators had identified. []

In April 2013, the scene was voted the best bathroom scene of any film in history, with scenes from Trainspotting

and There's Something About Mary coming second and third.[76]

Soundtrack

Score

Hitchcock insisted that Bernard Herrmann write the score for  Psycho, in spite of the composer's refusal to accept a

reduced fee for the film's lower budget.[] The resulting score, according to Christopher Palmer in The Composer in

 Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement."[77] Hitchcock was pleased with

the tension and drama the score added to the film,[] later remarking "33% of the effect of  Psycho was due to the

music."[] The singular contribution of Herrmann's score may be inferred from the film's credit roll, where the

composer's name precedes only the director's own, a distinction unprecedented in the annals of commercial

cinematic music.

Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a fullsymphonic ensemble,[] contrary to Hitchcock's request for a jazz score.[78] He thought of the single tone color of the

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all-string soundtrack as a way of reflecting the black-and-white cinematography of the film.[] Hollywood composer

Fred Steiner, in an analysis of the score to  Psycho, points out that string instruments gave Herrmann access to a

wider range in tone, dynamics and instrumental special effects than any other single instrumental group would

have.[79]

The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the

soundtrack.

[][80]

Though nothing shocking occurs during the first 15 – 20 minutes of the film, the title music remainsin the audience's mind, lending tension to these early scenes. [] Herrmann also maintains tension through the slower

moments in the film through the use of ostinato.[]

There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the

shocking effect of the music in the shower scene. The effect was achieved, however, only with violins in a

"screeching, stabbing sound-motion of extraordinary viciousness."[] The only electronic amplification employed was

in the placing of the microphones close to the instruments, to get a harsher sound.[] Besides the emotional impact, the

shower scene cue ties the soundtrack to birds. [] The association of the shower scene music with birds also telegraphs

to the audience that it is Norman, the stuffed-bird collector, who is the murderer rather than his mother. []

Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous (and

most imitated) cue in film music,"[] but Hitchock was originally opposed to having music in this scene. [] WhenHerrmann played the shower scene cue for Hitchcock, the director approved its use in the film. Herrmann reminded

Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy,

improper suggestion."[81] This was one of two important disagreements Hitchcock had with Herrmann, in which

Herrmann ignored Hitchcock's instructions. The second one, over the score for Torn Curtain (1966), resulted in the

end of their professional collaboration.[82] A survey conducted by PRS for Music, in 2009, showed that the British

public consider the score from 'the shower scene' to be the scariest theme from any film.[83]

To honor the 50th anniversary of  Psycho, in July 2010, the San Francisco Symphony[84] obtained a print of the film

with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra

performed the score live. This was previously mounted by the Seattle Symphony in October 2009 as well,

performing at the Benroya Hall for two consecutive evenings.

Recordings

Several CDs of the film soundtrack have been released, including:

• The 1970s soundtrack recording with Bernard Herrmann conducting the National Philharmonic Orchestra

[Unicorn CD, 1993].[85]

• The 1997 Varèse Sarabande CD features a re-recording of the complete score performed by the Royal Scottish

National Orchestra and conducted by Joel McNeely .[85][86]

• The 1998 Soundstage Records SCD 585 CD claims to feature the tracks from the original master tapes. However,

it has been asserted that the release is a bootleg recording.[85]

Track listing (Psycho — Soundstage Records)

 All pieces by Bernard Herrmann.

1. "Prelude; The City; Marion and Sam; Temptation" – 6:15

2. "Flight; The Patrol Car; The Car Lot; The Package; The Rainstorm" – 7:21

3. "Hotel Room; The Window; The Parlour; The Madhouse; The Peephole" – 8:52

4. "The Bathroom; The Murder; The Body; The Office; The Curtain; The Water; The Car; The Swamp" – 6:58

5. "The Search; The Shadow; Phone Booth; The Porch; The Stairs; The Knife" – 5:41

6. "The Search; The First Floor; Cabin 10; Cabin 1" – 6:18

7. "The Hill; The Bedroom; The Toys; The Cellar; Discovery; Finale" – 5:00

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Controversy

 Psycho is a prime example of the type of film that appeared in the United States during the 1960s after the erosion of 

the Production Code. It was unprecedented in its depiction of sexuality and violence, right from the opening scene in

which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.[87] In the Production Code

standards of that time, unmarried couples shown in the same bed would be taboo.[88]

According to the book Alfred Hitchcock and the Making of Psycho, the censors in charge of enforcing the ProductionCode wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts. Hitchcock held

onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their

positions: those who had previously seen the breast now did not, and those who had not, now did. They passed the

film after the director removed one shot that showed the buttocks of Leigh's stand-in. [89] The board was also upset by

the racy opening, so Hitchcock said that if they let him keep the shower scene he would re-shoot the opening with

them on the set. Since they did not show up for the re-shoot, the opening stayed. [89]

Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents (torn-up note

paper) fully visible. No flushing toilet had appeared in mainstream film and television in the U.S. at that

time.[90][91][]

Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene. In Britain and

New Zealand the shot of Norman washing blood from his hands was objected to and in Singapore, though the

shower scene was left untouched, the murder of Arbogast and a shot of Mother's corpse were removed.[92]

The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the

time. It was not entirely original as Clouzot had done the same in France for  Les Diaboliques.[93] Hitchcock thought

that if people entered the theater late and never saw the star actress Janet Leigh, they would feel cheated. [27] At first

theater owners opposed the idea, claiming that they would lose business. However, after the first day, the owners

enjoyed long lines of people waiting to see the film.[27]

Promotion

Hitchcock did most of the promotion on his own, forbidding Leigh and Perkins to make the usual television, radio,

and print interviews for fear of their revealing the plot. [94] Even critics were not given private screenings but rather

had to see the film with the general public, which, despite possibly affecting their reviews,[92] certainly preserved the

secret.

The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away

plot details before stopping himself. It is "tracked" with Bernard Herrmann's  Psycho theme, but also jovial music

from Hitchcock's comedy The Trouble with Harry; most of Hitchcock's dialogue is post-synchronized. The trailer

was made after completion of the film, and since Janet Leigh was no longer available for filming, Hitchcock had

Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview. Since the title, "Psycho," instantly covers most of the screen, the switch went unnoticed by audiences

for years. However, a freeze-frame analysis clearly reveals that it is Vera Miles and not Janet Leigh in the shower

during the trailer.[27]

The film was so successful that it was reissued to theaters in 1965. A year later, CBS purchased the television rights

for $450,000. CBS planned to televise the film on September 23, 1966, but three days earlier, Valerie Percy,

daughter of Illinois senate candidate Charles H. Percy, was murdered. As her parents slept mere feet away, she was

stabbed a dozen times with a double-edged knife. In light of the murder, CBS agreed to postpone the screening, but

as a result of the Apollo pad fire of January 27, 1967, the network washed its hands of  Psycho,[95] and shortly

afterward Paramount included the film in its first syndicated package of post-1950 movies, "Portfolio I". WABC-TV

in New York City was the first station in the country to air  Psycho (with some scenes significantly edited), on itslate-night movie series, The Best of Broadway, on June 24, 1967.[96] Following another successful theatrical reissue

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in 1969, the film finally made its way to general television airing in one of Universal's syndicated programming

packages for local stations in 1970.  Psycho was aired for twenty years in this format, then leased to cable for two

years before returning to syndication as part of the "List of a Lifetime" package.[95]

Interpretations

Subversion of romance through irony

In Psycho, Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it

prevents "clarity and fulfillment" of romance. The past is central to the film; the main characters "struggle to

understand and resolve destructive personal histories" and ultimately fail.[] Lesley Brill writes, "The inexorable

forces of past sins and mistakes crush hopes for regeneration and present happiness." The crushed hope is

highlighted by the death of the protagonist, Marion Crane, halfway through the film.[97] Marion is like Persephone of 

Greek mythology, who is abducted temporarily from the world of the living. The myth does not sustain with Marion,

who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's

flowers, but they are only "reflected in mirrors, as images of images —twice removed from reality". In the scene of 

Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "Like the eye of theamorphous sea creature at the end of Fellini's  La Dolce Vita, it marks the birth of death, an emblem of final

hopelessness and corruption." Unlike heroines in Hitchcock's other films, she does not reestablish her innocence or

discover love.[]

Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers

elements of human happiness. There exists among  Psycho's secondary characters a lack of "familial warmth and

stability", which demonstrates the unlikelihood of domestic fantasies. The film contains ironic jokes about

domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her

buried in the swamp. Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly

connubial" relationship, a development that Marion is denied.[] Norman also suffers a similarly perverse definition of 

domesticity. He has "an infantile and divided personality" and lives in a mansion whose past occupies the present.

Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room. He

is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace"

and as a result kills Marion to preserve his past. Brill explains, "'Someplace' for Norman is where his delusions of 

love, home, and family are declared invalid and exposed."[98]

Light and darkness feature prominently in Psycho. The first shot after the intertitle is the sunny landscape of Phoenix

before the camera enters a dark hotel room where Sam and Marion appear as bright figures. Marion is almost

immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she

enters her bedroom. When she flees Phoenix, darkness descends on her drive. The following sunny morning is

punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in neardarkness.[] Bright lights are also "the ironic equivalent of darkness" in the film, blinding instead of illuminating.

Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at

night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit

cellar's exposed light bulb shining on the corpse of Norman's mother. Such bright lights typically characterize danger

and violence in Hitchcock's films.[]

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Motifs

The film often features shadows, mirrors, windows, and, less so, water. The shadows are present from the very first

scene where the blinds make bars on Marion and Sam as they peer out the window. The stuffed birds' shadows loom

over Marion as she eats, and Norman's mother is seen in only shadows until the very end. More subtly, back-lighting

turns the rakes in the hardware store into talons above Lila's head.[99]

Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman'ssunglasses, and her hands as she counts out the money in the car dealership's bathroom. A motel window serves as a

mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone

booth, when Arbogast phones Sam and Lila. The heavy downpour can be seen as foreshadowing of the shower, and

it letting up can be seen as a symbol of Marion making up her mind to return to Phoenix. [99]

There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments

that Marion eats like a bird. The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that

Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being a British

slang for a desirable woman.[100] Robert Allan suggests that Norman's mother is his original "stuffed bird", both in

the sense of having preserved her body and the incestuous nature of Norman's emotional bond with her.[101]

Psychoanalytic interpretation

 Psycho has been called "the first psychoanalytical thriller."[] The sex and violence in the film were unlike anything

previously seen in a mainstream film. "[T]he shower scene is both feared and desired," wrote French film critic

Serge Kaganski. "Hitchcock may be scaring his female viewers out of their wits, but he is turning his male viewers

into potential rapists, since Janet Leigh has been turning men on ever since she appeared in her brassiere in the first

scene."[]

In his documentary The Pervert' s Guide to Cinema, Slavoj Žižek remarks that Norman Bates' mansion has three

floors, paralleling the three levels of the human mind that are postulated by Freudian psychoanalysis: the top floor

would be the superego, where Bates' mother lives; the ground floor is then Bates' ego, where he functions as anapparently normal human being; and finally, the basement would be Bates' id . Žižek interprets Bates' moving his

mother's corpse from top floor to basement as a symbol for the deep connection that psychoanalysis posits between

superego and id.[102]

Reception

Initial reviews of the film were thoroughly mixed.[103] Bosley Crowther of The New York Times wrote, "There is not

an abundance of subtlety or the lately familiar Hitchcock bent toward significant and colorful scenery in this

obviously low-budget job." Crowther called the "slow buildups to sudden shocks" reliably melodramatic but

contested Hitchcock's psychological points, reminiscent of Krafft-Ebing's studies, as less effective. While the film

did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".[104] British critic C. A.

Lejeune was so offended that she not only walked out bef ore the end but permanently resigned her post as film critic

for The Observer .[105] Other negative reviews stated, "a blot on an honorable career", "plainly a gimmick movie",

and "merely one of those television shows padded out to two hours." [103][106] Positive reviews stated, "Anthony

Perkins' performance is the best of his career... Janet Leigh has never been better", "played out beautifully", and

"first American movie since Touch of Evil to stand in the same creative rank as the great European films."[103][107] A

good example of the mix is the New York Herald Tribune's review, which stated, "...rather difficult to be amused at

the forms insanity may take... keeps your attention like a snake-charmer."[103]

The public loved the film, with lines stretching outside of theatres as people had to wait for the next showing. It

broke box-office records in Japan, China[citation needed ]

and the rest of Asia, France, Britain, South America, theUnited States and Canada, and was a moderate success in Australia for a brief period. [103] It was the most profitable

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black-and-white sound film ever made, and Hitchcock personally realized well in excess of $15 million. He then

swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest

shareholder in MCA Inc. and his own boss at Universal, in theory. But that didn't stop them from interfering with

him badly.[108][109]  Psycho was, by a large margin, the most profitable film of Hitchcock's career, earning over $12

million for the studio on release, and $15 million by the end of the year. (Most of Hitchcock's personal profits

counted as expenses and didn't go to the share holders of MCA Inc., but Hitchcock was a big shareholder also!)

Hitchcock's second most profitable was  Family Plot  ($7,541,000), and third place was a tie between Torn Curtain

(1966) and Frenzy (1972), each earning $6,500,000.

In the United Kingdom, the film shattered attendance records at the London Plaza Cinema, but nearly all British

critics panned it, questioning Hitchcock's taste and judgment. Reasons cited for this were the critics' late screenings,

forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.[110]

Perhaps thanks to the public's response and Hitchcock's efforts at promoting it, the critics did a re-review, and the

film was praised. TIME switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative"

and "masterly", and Bosley Crowther put it on his Top Ten list of 1960. [110]

 Psycho was initially criticized for making other filmmakers more willing to show gore; three years later,  Blood 

 Feast , considered to be the first "splatter film", was released. [111]  Psycho's success financially and critically hadothers trying to ride its coattails. Inspired by  Psycho, Hammer Film Productions launched a series of mystery

thrillers including The Nanny[] (1965) starring Bette Davis and William Castle's Homicidal (1961) was followed by a

slew of more than 13 other splatter films.[111]

Recognition

Award Category Name Outcome

Academy Awards (33rd) Director Alfred Hitchcock Nominated

Best Supporting Actress Janet Leigh Nominated

Best Cinematography, Black-and White John L. Russell Nominated

Best Art Direction-Set Decoration,

Black-and-White

Joseph Hurley, Robert Clatworthy, George

Milo

Nominated

Directors Guild of America Outstanding Directorial Achievement in

Motion Pictures

Alfred Hitchcock Nominated

Edgar Allan Poe Awards Best Motion Picture Joseph Stefano (screenwriter), Robert

Bloch (author)

Won

International Board of Motion Picture

Reviewers

Best Actor Anthony Perkins Tied

Golden Globe Awards (18th) Best Supporting Actress Janet Leigh Won

Writers Guild of America, East Best Written American Drama Joseph Stefano Nominated

In 1992, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of 

Congress and was selected for preservation in the National Film Registry.

Leigh asserted, "no other murder mystery in the history of the movies has inspired such merchandising." [112] Any

number of items emblazoned with  Bates Motel, stills, lobby cards, and highly valuable posters are available for

purchase. In 1992, it was adapted scene-for-scene into three comic books by the Innovative Corporation.[112]

 Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was

featured as number four on the list of Bravo Network's 100 Scariest Movie Moments, [113] whilst the finale was

ranked number four on  Premiere's similar list.[114] Entertainment Weekly's book titled The 100 Greatest Movies of 

 All Time ranked the film as #11.[1]

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American Film Institute lists

• AFI's 100 Years...100 Movies – #18

• AFI's 100 Years...100 Thrills – #1

• AFI's 100 Years...100 Heroes and Villains:

• Norman Bates – #2 Villain

• AFI's 100 Years...100 Movie Quotes:• "A boy's best friend is his mother." – #56

• "We all go a little mad sometimes." – Nominated[115]

• AFI's 100 Years of Film Scores – #4

• AFI's 100 Years...100 Movies (10th Anniversary Edition) – #14

Sequels and remakes

Three sequels were produced:  Psycho II  (1983),  Psycho III  (1986), and  Psycho IV: The Beginning (1990), the last

being a part-prequel television movie written by the original screenplay author, Joseph Stefano. Anthony Perkins

returned to his role of Norman Bates in all three sequels, and also directed the third film. The voice of Norman Bates'mother was maintained by noted radio actress Virginia Gregg with the exception of  Psycho IV , where the role was

played by Olivia Hussey. Vera Miles also reprised her role of Lila Crane in  Psycho II .[116] The sequels were well

received but considered inferior to the original.[117][118]

 Bates Motel was a failed television pilot spin-off which later aired as a television movie (before the release of  Psycho

 IV ). Anthony Perkins declined to appear in the pilot, so Norman's cameo appearance was played by Kurt Paul, who

was Perkins' stunt double on Psycho II and III .[119] In 1998, Gus Van Sant directed a remake of  Psycho. The film is

in color and features a different cast, but aside from this it is a virtually shot-for-shot remake copying Hitchcock's

camera movements and editing.[120]  A Conversation with Norman (2005), directed by Jonathan M. Parisen, was a

film inspired by Psycho.

It was reported in 2005 that a new drama film was in development based on the book by Stephen Rebello,  Alfred 

 Hitchcock and the Making of Psycho. The film was originally titled Alfred Hitchcock Presents and set to be directed

by Ryan Murphy and star Anthony Hopkins as Hitchcock. [121] It was later announced, however, that the film would

be retitled Hitchcock , with filming beginning on April 13, 2012.[122] Filming was completed in early June 2012 with

a worldwide release on December 14, 2012. The film is centered around the relationship between Alfred Hitchcock

and wife Alma Reville during the filming of  Psycho in 1959. The film is being directed by Sacha Gervasi and written

by John McLaughlin and Stephen Rebello. The film stars Anthony Hopkins as Alfred Hitchcock, Helen Mirren as

Alma Reville, Scarlett Johansson as Janet Leigh, Jessica Biel as Vera Miles and James D'Arcy as Anthony Perkins.

The film was released worldwide on December 14th, 2012 to mostly positive reviews and one Academy Award

nomination.

On October 19, 2010, an independent documentary called The Psycho Legacy was released on DVD. The

documentary discussed the legacy and impact  Psycho has had on not only cinema but the world. The documentary

also included production stories on Psycho II , Psycho III and Psycho IV: The Beginning. It received mostly positive

reviews from critics and fans.

On January 13, 2012, A&E announced that a television series called Bates Motel was in development at the network.

The TV series has nothing to do with the earlier  Bates Motel failed TV pilot released in 1987. The series takes place

before the events of the original film and chronicles Norman Bates' teen years living at the Bates Motel, as did the

flashback sequences in Psycho IV: The Beginning.[123] However, the series is set in the present day in a seaside town

in Oregon rather than the inland town in California of the film - thus the series is a reboot though widely reviewed as

a prequel, as it is devoted to providing a backstory to a younger Norman Bates prior to his becoming a murderer. InJuly 2012, A&E announced that the network had picked up the show for a 10 episode first season, skipping the

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initial pilot stage. The series aired on March 18, 2013 to high ratings and very positive reviews. The show has been

renewed for a second season to air in 2014.

Cultural impact

 Psycho has become one of the most recognizable films in cinema history, and is arguably Hitchcock's best known

film.[124][125] In his novel, Bloch used an uncommon plot structure: he repeatedly introduced sympatheticprotagonists, then killed them off. This played on his reader's expectations of traditional plots, leaving them

uncertain and anxious. Hitchcock recognized the effect this approach could have on audiences, and utilized it in his

adaptation, killing off Leigh's character at the end of the first act. This daring plot device, coupled with the fact that

the character was played by the biggest box-office name in the film, was a shocking turn of events in 1960. [87]

The most original and influential moment in the film is the "shower scene", which became iconic in pop culture

because it is often regarded as one of the most terrifying scenes ever filmed. Part of its effectiveness was due to the

use of startling editing techniques borrowed from the Soviet montage filmmakers,[126][127] and to the iconic

screeching violins in Bernard Herrmann's musical score. The iconic shower scene is frequently spoofed, given

homage to and referenced in popular culture, complete with the violin screeching sound effects (see Charlie and the

Chocolate Factory, among many others).[128]

 Psycho is now widely considered to be the first film in the slasher film genre,[129][130] and has been referenced in

films numerous times; examples include the 1974 musical horror film  Phantom of the Paradise, 1978 horror film

 Halloween (which starred Jamie Lee Curtis, Janet Leigh's daughter), [] the 1977 Mel Brooks tribute to many of 

Hitchcock's thrillers, High Anxiety, the 1980 Fade to Black , the 1980 Dressed to Kill and Wes Craven's 1996 horror

satire Scream.[] Bernard Herrmann's opening theme has been sampled by rapper Busta Rhymes on his song "Gimme

Some More" (1998).[131] Manuel Muñoz's 2011 novel What You See in the Dark includes a sub-plot that fictionalises

elements of the filming of  Psycho, referring to Hitchcock and Leigh only as "The Director" and "The Actress". [132]

In the comic book stories of Jonni Future, the house inherited by title character is patterned after the Bates Hotel.[133]

The ending sequence is also parodied by South Park in "City Sushi".

Ratings

 Psycho has been rated and re-rated several times over the years by the MPAA. Upon its initial release, the film

received a certificate stating that it was "Approved" (certificate #19564) under the simple pass/fail system of the

Production Code in use at that time. Later, when the MPAA switched to a voluntary letter ratings system in 1968,

 Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" (Mature Audiences). [] This

remained the only rating the film would receive for 16 years, and according to the guidelines of the time "M" was the

equivalent of a "PG" rating.[][] Then, in 1984, during the uproar of increased parental concern regarding violence in

"PG" films,[][]  Psycho was retro-rated again to its current rating of "R". This rating took effect, however, before the

institution of the "PG-13" rating by the MPAA that same year, and there are those who have speculated that if the

rating had existed at the time, or if  Psycho were rated in America today, it would receive a "PG-13".[]

Home media

The film has been released several times on videotape, LaserDisc, and DVD. MCA DiscoVision Incorporated

(parent company, MCA Inc) first released Psycho on the LaserDisc format in "standard play" (5 sides) in 1979, and

"extended play" (2 sides) in October 1981. MCA/Universal Home Video released a new LaserDisc version of 

 Psycho in August 1988 (Catalog #: 11003). In May 1998, Universal Studios Home Video released a deluxe edition

of  Psycho as part of their Signature Collection. This THX® certified Widescreen (1.85:1) LaserDisc Deluxe Edition

(Catalog #: 43105) is spread across 4 extended play sides and 1 standard play side, and includes a new documentaryand isolated Bernard Hermann score. A DVD edition was released in at the same time as the LaserDisc.[]

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Laurent Bouzereau produced a documentary looking at the film's production and reception for the initial DVD

release. Universal released a 50th Anniversary edition on Blu-ray in the United Kingdom on 9 August 2010, [134]

with Australia following with the same edition (featuring a different cover) being made available on 1 September

2010.[135] A Blu-ray in US was released on October 19, 2010 to mark the film's 50th anniversary, featuring yet

another different cover.[]

References

[1] The 100 Greatest Movies of All Time. New York: Entertainment Weekly Books, 1999

[2] Motion Picture Purgatory: Psycho (http:/   /  www. dreadcentral. com/  news/  35360/  motion-picture-purgatory-psycho)

[3]  Psycho is the top listed Hitchcock film in The 100 Greatest Movies of All Time by Entertainment Weekly, and the highest Hitchcock film on

AFI's 100 Years...100 Movies.

[5] Leigh, pp. 156, 187 – 188, 163

[6][6] Leigh, p. 159

[7] Leigh, pp. 132 – 133

[8][8] Leigh, p. 83

[10][10] "With only two confirmed kills, Ed did not technically qualify as a serial killer (the traditional minimum requirement was three"

[11][11] Leigh, p. 6

[15] The Making of Psycho, 1997 documentary directed by Laurent Bouzereau, Universal Studios Home Video, available on selected  PsychoDVD releases.

[16] Leigh, pp. 36 – 37

[17] Tangentially mentioned by interviewer of Stefano (http:/   /  www. hitchcockwiki.  com/  wiki/ 

Creative_Screenwriting_-_Interview_with_Joseph_Stefano) but generally given less attention than the film's omission of Bates' alcoholism

and pornography.

[19] Interview in Creative ScreenWriting Journal. Reproduced at (http:/   /  www. hitchcockwiki. com/  wiki/ 

Creative_Screenwriting_-_Interview_with_Joseph_Stefano)

[21] Leigh, pp. 33 – 34

[23][23] Leigh, p. 39

[26] Interview with Stefano (http:/   /  www. hitchcockwiki. com/  wiki/  Creative_Screenwriting_-_Interview_with_Joseph_Stefano)

[27] Leigh, pp. 96 – 97

[28][28] Leigh, pp. 86, 173[29] See WikiMapia {Coordinates: 34°8'12"N 118°20'48"W}.

[34] Leigh, pp. 12 – 13

[37] Leigh, pp. 22 – 23

[39][39] Leigh, p. 88

[40][40] Leigh, p. 66

[42] Leigh, pp. 24 – 26

[44] See also Liner notes to CD recording of score by Joel McNeely & Royal Scottish National Orchestra

[45][45] Leigh, p. 73

[46][46] Leigh, p. 62

[47] Leigh, pp. 46 – 47

[48][48] Leigh, p. 55

[49][49] Leigh, p. 59

[50] Leigh, pp. 87 – 88

[51] Leigh, pp. 85 – 86

[54][54] Leigh, pp. 65, 67

[55][55] Hitchcock, cited in and page 308

[58] Leigh, pp. 165 – 166

[67] Leigh, pp. 67 – 70

[71][71] Leigh, pp. 176, 42

[72][72] Leigh, p. 169

[75][75] Leigh, p. 131

[78] Psycho – Bernard Herrmann (http:/   /  www. soundtrack-express.  com/  osts/  psycho.  htm). Soundtrack-express.com. Retrieved on

2010-11-21.

[85] Bernard Herrmann and 50th anniversary of PSYCHO (http:/   /  www. americanmusicpreservation. com/  Psychofilmscore.  htm).

Americanmusicpreservation.com (1960-06-16). Retrieved on 2010-11-21.[86] http:/   /  www. varesesarabande. com/  servlet/  the-605/  Psycho/  Detail

[87] Psycho (1960) (http:/   /  www. filmsite. org/  psyc. html). Retrieved November 20, 2010.

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[89][89] Leigh, p. 112

[92] Leigh, pp. 105 – 6

[94][94] Leigh, p. 95

[95][95] Leigh, p. 187

[96] WABC TO TONE DOWN 'PSYCHO' FOR JUNE 24 (http:/   /  select. nytimes. com/  gst/  abstract.

html?res=F60B14F9395E137A93C3A9178DD85F438685F9). The New York Times, June 1, 1967. Retrieved 2010-05-31.

[99] Leigh, pp. 90 – 93

[103] Leigh, pp. 99 – 102[106][106] These are from (in order): New York Times, Newsweek and Esquire

[107] These are from (in order): New York Daily News, New York Daily Mirror , and Village Voice

[108] Stephen Rebello, Alfred Hitchcock and the Making of Psycho, Soft Skull Press, Berkeley, 1990.

[109][109] Leigh, p. 141

[110] Leigh, pp. 103 – 106

[111] Leigh, pp. 180 – 181

[112][112] Leigh, p. 186

[115] AFI's 100 Years...100 Movie Quotes Nominees (http:/   /  www. afi. com/  Docs/  100Years/  quotes400.  pdf)

[116][116] Leigh, p. 113

[117] Ebert, Roger Psycho III . Roger Ebert' Movie Home Companion. Kansas City: Andrews and McMeel, 1991

[121] Billington, Alex (5 Nov 2007). Anthony Hopkins Talks About Alfred Hitchcock Presents. www.firstshowing.net (http:/   /  www.

firstshowing. 

net/  

2007/  

11/  

05/  

anthony-hopkins-talks-about-alfred-hitchcock-presents/  

)[123] (http:/   /  news. yahoo.com/  next-e-bates-motel-norman-bates-teenage-years-233151678.  html)

[128] Harti, John. "‘Chocolate Factory’ is a tasty surprise" (http:/   /  www. msnbc. msn. com/  id/  8547003/  ns/  entertainment-movies/  ) at

msnbc.com, July 14, 2005.

[131] Busta Rhymes – E.L.E. Extinction Level Event|Album Review @ Music-Critic.com : the source for music reviews, interviews, articles,

and news on the internet (http:/   /  www. music-critic. com/  urban/  busta_ele. htm). Music-critic.com (1998-12-17). Retrieved on 2010-11-21.

[132] Muñoz, Manuel. What You See in the Dark , 2011, Algonquin Books.

[133] George Khoury and Eric Nolen-Weathington. Modern Masters Volume Six: Arthur Adams, 2006, TwoMorrows Publishing.

[134] UK DVD and Blu-ray Releases: Monday 9th August 2010 (http:/   /  www. filmdetail. com/  2010/  08/  09/ 

uk-dvd-and-blu-ray-releases-monday-9th-august-2010-hitchcock-psycho-the-seven-ups-spiral/  ) - filmdetail.com

[135] Australian Blu-Ray releases W/C Monday November 29, 2010 (http:/   /  blurayaustralia.  com/  2010/  11/ 

australian-blu-ray-releases-wc-monday-november-29-2010.  html) -blurayaustralia.com

Bibliography• Allen, Richard (2007). Hitchcock's romantic irony. Columbia University Press. ISBN 0-231-13575-0.

• Brill, Lesley (1988). "'I Look Up, I Look Down' (Vertigo and Psycho)". The Hitchcock Romance: Love and Irony

in Hitchcock's Films. Princeton University Press. ISBN 0-691-00822-1.

• Caminer, Sylvia; Gallagher, John Andrew (January/February 1996). "An Interview with Joseph Stefano.". Films

in Review. XLVII (1/2).

• Dancyger, Ken (2002). The Technique of Film and Video Editing: History, Theory, and Practice. New York:

Focal Press. ISBN 0-240-80420-1.

• Hardy, Phil (1986). Encyclopedia of Horror Movies. London: Octopus Books. ISBN 0-7064-2771-8.

• Kaganski, Serge (1997). Alfred Hitchcock . Paris: Hazan.

• Krohn (2003). Hitchcock at Work . Phaidon Press Ltd.• Nickens, Christopher; Leigh, Janet (1996). Psycho: Behind the Scenes of the Classic Thriller . Harmony.

ISBN 0-517-70112-X.

• Palmer, Christopher (1990). The Composer in Hollywood . London: Marion Boyars.

ISBN [[Special:BookSources/0-17-452950-80-17-452950-8[[Category:Articles with invalid ISBNs]] Check

|isbn= value (help).

• Rebello, Stephen (1990). Alfred Hitchcock and the Making of Psycho. Marion Boyars. ISBN 0-7145-3003-4.

• Reavill, Gil (2007). Aftermath, Inc.: Cleaning Up After CSI Goes Home. Gotham. ISBN 978-1-59240-296-0.

• Schickel, Richard; Frank Capra (2001). The Men Who Made the Movies. I.R. Dee. ISBN 1-56663-374-5,

9781566633741 Check |isbn= value (help).

• Smith, Joseph W., III. (2009). The Psycho File: A Comprehensive Guide to Hitchcock's Classic Shocker .Berkeley: McFarland.

8/22/2019 Psycho (1960 Film)

http://slidepdf.com/reader/full/psycho-1960-film 18/19

Psycho (1960 film) 18

• Smith, Steven C. (1991). A Heart at Fire's Center; The Life and Music of Bernard Herrmann. Berkeley:

University of California Press. ISBN 0-520-22939-8.

• Steinberg, Cobbett (1980). Film Facts. New York: Facts on File, Inc. ISBN 0-87196-313-2.

• Winecoff, Charles (1996). Split Image: The Life of Anthony Perkins. Diane Pub Co. ISBN 0-7881-9870-X.

• Truffaut, François; Helen Scott (1967). Hitchcock (Revised ed.). New York: Simon & Schuster.

ISBN 0-671-60429-5.

• Wagstaff, Sheena, ed. (2004). Edward Hopper . London: Tate Publishing. ISBN 1-85437-533-4.

• Wood, Robin (1989). Hitchcock's Films Revisited . London: Faber and Faber. ISBN 0-571-16226-6.

Further reading

The following publications are among those devoted to the production of  Psycho:

• Anobile, Richard J.; editor. Alfred Hitchcock's Psycho (The Film Classics Library). Avon Books, 1974. This

volume, published before the proliferation of home video, is entirely composed of photo reproductions of film

frames along with dialogue captions, creating a fumetti of the entire motion picture.

• Durgnat, Raymond E. A Long Hard Look at Psycho (BFI Film Classics). British Film Institute, 2002.

• Kolker, Robert; editor. Alfred Hitchcock's Psycho: A Casebook . Oxford University Press, 2005.

• Leigh, Janet with Christopher Nickens. Psycho: Behind the Scenes of the Classic Thriller . Harmony Press, 1995.• Naremore, James. Filmguide to Psycho. Indiana University Press, 1973.

• Rebello, Stephen. Alfred Hitchcock and the Making of Psycho. Dembner Books, 1990. A definitive "making of"

account tracing every stage of the production of the film as well as its aftermath.

• Rebello, Stephen. "Psycho: The Making of Alfred Hitchcock's Masterpiece". "Cinefantastique", April 1986

(Volume 16, Number 4/5). Comprehensive 22-page article.

• Skerry, Philip J. The Shower Scene in Hitchcock's Psycho: Creating Cinematic Suspense and Terror . Edwin

Mellen Press, 2005.

• Smith, Joseph W., III. The Psycho File: A Comprehensive Guide to Hitchcock's Classic Shocker. McFarland,

2009.

• Thomson, David, The Moment of Psycho (2009) ISBN 978-0-465-00339-6

External links

•  Psycho (http:/   /  www. imdb.com/  title/  tt0054215/  ) at the Internet Movie Database

•  Psycho (http:/   /  www. rottentomatoes. com/  m/  psycho/  ) at Rotten Tomatoes

• Bright Lights Film Journal article on Psycho (http:/   /  www. brightlightsfilm. com/  28/  psycho1. html)

• Filmsite: Psycho (http:/   /  www. filmsite.org/  psyc. html) In-depth analysis of the film

•  Psycho and Bernard Herrmann film score (http:/   /  www. americanmusicpreservation. com/  Psychofilmscore. htm)

• " Psycho' at 50: What We've Learned from Alfred Hitchcock's Horror Classic" (http:/   /  insidemovies. moviefone.

com/  

2010/  

06/  

15/  

psycho-50th-anniversary-alfred-hitchcock/  

) by Gary Susman – Moviefone – June 15, 2010

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Article Sources and Contributors 19

Article Sources and ContributorsPsycho (1960 film)  Source: http://en.wikipedia.org/w/index.php?oldid=562586838 Contributors: 21655, 2Pac, 6afraidof7, 84user, 9eyedeel, A, AC+79 3888, ACSE, AKeen, AVand, Abatopiscorum, AbsoluteGleek92, Abyss42, Acroterion, Adraeus, Ahasuerus, Alai, Alansohn, Alcas79, AldezD, Alejandro Manrique Hernandez Reinoso, AlexanderHaas, Alexcalamaro, Alfietucker,Alientraveller, Alladir, Altenmann, Amatulic, Andman8, AndrewOne, Andrzejbanas, Angel2001, Anir1uph, AnmaFinotera, Anna Frodesiak, AnnaJGrant, Annie Bob, Antandrus, Anthony,Apeloverage, Apesbrain, Apoc2400, Apostrophe, Arizona358, Arjunm, Arman7, Arminius, Art Slashington, Arthena, Artihcus022, Asa01, Ashadeofgrey, Ashlux, Asjdhfsdhflskajh, AstroNomer,Attilios, Aude, AudiR85.2V10, Avlisk, Avoided, BONKEROO, Babə  k Akifoğlu, Bachrach44, Badgernet, BakerBaker, Bantosh, Barneca, Basketball110, Becky Sayles, Beerest355, Before MyKen, Bellemonde, Bender235, Betty Logan, Bicycle Bicycle, Bigbear590, Bignole, Bilbravo, BlackAndy, Blackroo1967, Blake Burba, Blanchardb, Blaney60, BlooWilt, Bluerules, Bobbaxter,

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Image Sources, Licenses and ContributorsFile:Psycho House, Motel and car composite.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Psycho_House,_Motel_and_car_composite.jpg  License: Public Domain Contributors:JGKlein

File:Hopper.railroad.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hopper.railroad.jpg  License: Creative Commons Attribution 3.0 Contributors: Edward Hopper

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