The 1960 the film “Psycho” directed Alfred Hitchcock, which was adapted from
Robert Bloch’s 1959 novel of the same name. It drew inspiration from real life serial killer
Ed Gein, and is about a man named Norman Bates, who runs a motel owned by his family.
In the story, Bates is a victim of his sickly mother’s love. His mother becomes violent when
Norman begins to pay less attention to her/her needs. The story is told from three points of view, and leads down a trail of misdirection, embezzlement, and violence. The study of character, storytelling, and suspense in the film are all fantastic and help solidify it as a classic. “Psycho” has a unique presentation, point of view, and artfully directed camerawork. “Psycho” is incredible in the way that it did its utmost best to
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Another fantastic shot is the angle that pans out from Marion Crane’s eye, moves on to focus on money, then finishes its course by moving up the house where we get in on the fun of eavesdropping on the conversation between Norman and his mother. Both of these scenes leave a very awe-inspired reaction. If that weren’t enough, Norman Bates is often shot from a low angle, which gives him that same chilling aura as the house. This only serves to add to the already imposing depiction the film gives of Bates and his family.
Many of the ideas and visual techniques expressed here are merely interpretations, but isn’t that what filmmaking is about? Every person is liable to create their own conclusions from what they see or read; it’s generally agreed upon that what an audience takes from a piece of art is more important and true than what the original intention was anyways. But I digress, as a wonderful filmmaker such as Hitchcock allows for the audience to create those interpretations, and “Psycho” is no exception. When watching this movie again for the purpose of writing this paper, I came to appreciate all of its
To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.
It all begins when Blanche Morton, moves in with her sister, Kate Jerome’s family, as a result of her husband passing away. Instead of being an independent woman, and taking care of her family, she depends on her brother-in-law Jack for; financial support, guidance, and the nurturing of her children, as if they were his obligation. Unfortunately this situation causes a great deal of tension between
The first shot we see of this sequence is a low angle which shows, quite simply, the sheer enormity of the building Max is about to enter. The shot slowly pans down as the foreboding notes of the score
The film opens up with a wide shot of urbanistic Phoenix, Arizona. Then, the camera zooms in to the one of hundreds of windows and gets into the room, introducing the viewers to the main characters Marion Crane and Sam Loomis. The audience sees that the characters are in love, however, meet secretly during Marion’s lunchtime. Sam explains the reason why they cannot be together – his father’s debt and alimony. Hitchcock also lets the viewers know that Marion also tries to make ends meet. The characters touch upon the theme of money several times during their dialogue, underlying how important and urgent it is. The audience sees that both of them want to be together, however, cannot afford it. Thus, the opening scene not only introduces the characters to the audience, but alludes to one of the main conflicts of the film – stealing of a large sum of money by Marion in a desperate attempt to be with her lover. In such a way, Hitchcock masterfully creates a feeling of suspense in the audience in the very first scene of his
The investigator questioned Norman, but wasn’t pleased with the lack of information. He went back later and tried to talk with Norman’s mother in the mansion, but in-turn was killed by the “mother”. Furthermore, Norman carried his “mother” to the fruit cellar to hide, leaving him isolated. In turn, he has created his “Inner Cave”. As Lila and Sam investigate the place, they get suspicious over where Norman’s mother is, so Lila searches the house. The “Turning Point” would be when Lila finds the corpse of the dead mother and gets Norman arrested. When Norman is apprehended by the police the “mother” personality takes over, which leads to the downfall of Norman Bates, also known as the “Catastrophe”. The cops received information about all the murders Norman has committed from the “mother” and ultimately put Norman in jail or an asylum. This would be the “Aftermath” and “Atonement”, respectively. Now the final stage of this format is “The Return”. Hitchcock creatively used Norman’s mother personality taking over his mind as “The Return” because it would be the return of the mother from death. In closing this film followed the Heroic Journey format, but in an innovative
house on the top of the motel gives a gothic image and the fact that
The first shot of the clip captures a man named Walter Neff in a medium long shot boarding an elevator while the camera is stationary. Another man also enters the elevator and the shot quickly changes to a medium two-shot as the men engage in a conversation. The shot is illuminated using high key lighting, and the two men are framed with their backs in front of the camera where Walter is shown on the left side of the frame and the other man on the right. As Walter walks out of the elevator, the shot changes to a long shot and the camera begins to track him in the forward direction. Moreover, low-key lighting is used as shadows are cast upon the long coat of Walter as he is moving forward. The camera tracks Walter until he comes to a stop to gaze down at a series of desks at which point the camera tilts down and becomes stationary. The shot lasted for a duration of forty-four seconds making the shot a long take.
Just when you thought Hitchcock couldn’t do it any better, he does. North by Northwest is yet another classic Alfred Hitchcock espionage thriller which is said by many to be “the Hitchcock picture to end all Hitchcock pictures”. Myself, along with many others have listed North by Northwest as one of the greatest films of all time. It was selected in 1995 for preservation in the National Film Registry by the United States Library of Congress, as being "culturally, historically, or aesthetically significant".
In Alfred Hitchcock’s Rear Window, the stylistic elements utilized by the director create a unique availability the depth of information available to both the characters in the film and the audience watching. The entire film is from the perspective of the rear window of the injured photographer Jeff. Jeff, unable to move is stuck with nothing to do but look out his window. As the audience, we are given an objective view, looking over his shoulder as he stares at the lives of his fellow tenants. From the window, we watch as Jeff essentially invades people’s homes with his high-powered photographic lens. In the scope of the entire film this is an incredibly smart tactic because it gives the audience the same emotions that the characters feel. During
For every action a person takes, there is usually a purpose behind it. The riskier and more dangerous an action, the more motive that individual must have to continue. Alfred Hitchcock’s 1954 film, Rear Window, is a riveting thriller that is based on Cornell Woolrich’s short story “It Had to be Murder”. This film tells a narrative about an adventurous photographer, Jeffries played by James Stewart, who after breaking his leg is forced to remain shackled to a wheelchair within his home. To cope with boredom, he takes the liberty of observing his neighbors through one of his windows. It is through this pastime that he comes to believe that one of his neighbor might be guilty of murdering his wife. Throughout the rest of the film Jeffries decides to investigate his neighbor, in an attempt to bring him to justice. Jeffries is however met with skepticism and obstacles. While any other individual might have succumbed to the skepticism, Jeffries does not. Throughout the film we come know his character more, and we can analyze what part of his personality started the whole ordeal and which traits drives him to finish his investigation.
Personally to us, the director’s intention was to show how the psychology state of a man depending on his condition can affect his life and those around him. In this case, Norman Bates is affected by the various scenarios that happens in his life. His mother’s passing affected him the most as he murdered her. He took over his mother figure to get rid of guilt and started being her. He was in need of help, but he isolated himself from the outside world and this ‘mother’ personality had a very dominant role in his personal life which resulted in the murders he
Norman Bates (Anthony Perkins) kills Marion Crane (Janet Leigh). Marion who wanted to lead a happy family life with her boy friend Sam Loomis (John Gavin) after marriage and hence steals money and flees Phoenix and becomes a prey for the psychopath Norman Bates. Norman Bates overpowered by his dead mother’s personality kills the woman who comes in between the relationship with his mother. Norman has no other motive. Only his frustrated sexuality when he meets a woman can be the motive. As the case of a split personality syndrome Norman takes the role of his dead mother, and targets those women who come to his motel. Possessed by his mother, he dresses like her and here he slashes Marion on the shower. When Lila Crane (Vera Miles) along with Sam comes in search of
Past all of that, what makes the movie spectacular are the people, relationships, and the messages sent. The
His back ground lighting was the projection of his face showing in a ghostly manner. These elements combined to strike fear in the characters
Capital punishment, which can also be referred to as the death penalty, has been around for hundreds of years. Ever since it began, there has been discussions as to whether it is morally correct, and as to whether it actually influences criminals. Some believe that the possibility of being put to death often stops criminals from committing violent crimes. Others believe the reciprocal, stating that those that partake in violent crimes are driven to do so for various reasons, and whether they have the chance of being put to death or not will not stop them from doing what they feel they must do. Some serial killers and other violent individuals think that they will never be caught. Others believe that they are doing God 's work, or they proclaim other 'important ' reasons for the killings and violence that they partake in. Sometimes this is due to mental disorders, but there are other reasons that people partake in acts of this nature. Regardless of these reasons, violent acts can and do happen and whether these people should be put to death for their crimes remains a widely discussed issue.