Horror Film Hitchcock In 1960 Essay Example

couple in debt having sex out of marriage in dark sleazy hotels with ordinary jobs. Hitchcock, unusual for the time, used 50mm camera lenses, a lens with a close relation to the human eye to give it a sense of realism and make the audience feel present during the location shoot. The film is based on the true life story of serial killer Ed Gern, with Hitchcock acquiring all the film rights for $9000 and purchasing numerous books to ensure secrecy surrounding the story. He took extreme measures to maintain secrecy, requiring his film crew and cast to take an oath of secrecy on the first day of shooting and prohibiting unauthorized personnel from being on set. Hitchcock was skilled at PR stunts and employed various tactics to generate free publicity for his film. Due to Paramount's refusal to fund this provocative project, the entire budget of the film was limited to $800,000, necessitating cost-cutting wherever possible.

Hitchcock utilized his television crew to create his new film in black and white for several purposes. Firstly, it was a more cost-effective option compared to using colored film. Secondly, the monochromatic filter helped to conceal the graphic scenes and maintain a sense of normalcy. Janet Leigh, who portrayed Marion Crane, opted for everyday attire purchased from regular stores to allow the audience to easily recognize her character as an estate agent receptionist. Additionally, she minimalized her makeup application and styled her own hair. Alfred Hitchcock employed unique marketing strategies to generate hype for Psycho, unlike anything anyone had ever witnessed. During the sixties, it was common practice for viewers to enter a movie at any point and leave

at their leisure. However, for this particular film, entering during the screening was strictly prohibited. This introduced fixed showtimes and the first use of ticket stubs.

Queues stretched for blocks in Chicago, causing concern among cinema owners that the restless crowds may become unsettled. To address this, Hitchcock instructed his staff to purchase umbrellas and distribute them to the cinemas. This clever move turned a potentially disastrous situation into a publicity stunt that would surely make headlines the next day. Hitchcock believed that any type of publicity, whether positive or negative, was beneficial. Interestingly, at the end of the film, the audience was left in darkness, with Hitchcock urging them not to spoil the ending for others since there was only one twist. In a unique approach, critics were not given any advance screenings and had to join the paying public in queuing for the film. This decision led to initial negative reviews of Psycho, with a British review in 1968 suggesting that the critics' wounded egos were the cause of their harsh assessments. To generate further interest, a six-minute trailer was created and presented by Hitchcock himself. The trailer showcased the iconic house and its dominating presence on set, highlighting the duality of good and evil through two murder scenes involving the mother.

Despite Hitchcock's vagueness and his pretense of being too scared to delve into the grotesque details of the murders, this deliberate approach has a significant impact on the viewer's perception of the movie. Released during a time of economic prosperity in America, with improving living standards, high employment rates, and advancements in technology, such as the widespread presence of televisions in living rooms,

Psycho also emerged amidst societal tensions. The era was marked by racial divisions between blacks and whites, America's involvement in the Korean War, the escalating Cold War crisis, and the Cuban missile crisis. However, it was not just political factors like race and communism that influenced the film's production; social changes were also at play. The rebelliousness of teenagers, fueled by rock music dominating the industry, and shifting attitudes towards premarital sex and sexuality in general were among the societal shifts that impacted the making of Psycho.

Hitchcock was aware of the growing support and rebellious behavior of the younger generation. He believed that including sex scenes in his film was necessary to connect with the youth. However, he knew that censorship would be a major concern. This movie would challenge censorship laws and redefine our perception of sex and murder. In the United States, every film had to be reviewed by the MPPDA (Motion Pictures Producers and Distributors of America). Alfred Hitchcock was warned that it was highly unlikely the film would receive certification or be allowed to be screened without significant changes. The issues of blasphemy, including the use of words like 'God' and 'hell', were raised, as well as the portrayal of an incestuous relationship and discussion of transvestism involving the character Norman.

But Janet Leigh (Marion Crane) remembered that Alfred had mentioned his plan to manipulate the censors by deliberately including bizarre elements. This way, when they asked him to remove those elements, he could negotiate by conceding some while keeping others. However, the nudity in the shower scene received the most scrutiny. Certain censors believed that there was a clear shot of

a nipple, but this was not the case. Instead, Hitchcock skillfully used montage editing techniques inspired by the Soviet filmmakers of the 1920s to suggest the presence of nudity. Surprisingly, the censors did not address this supposed "nipple shot" when the film was sent back for review. The actual murder scene in the shower definitely could not be shown as it was, so Hitchcock employed montage editing to create an illusion. The audience believed they would see the knife slashing her body, but in reality, every strike of the knife was cut away from, giving the impression without actually showing it. Hitchcock put a lot of thought into choosing the perfect actor for the role of Norman Bates. He wanted someone who could leave a stunning yet deceiving impact on the viewers. Bates had to display a sense of softness and vulnerability, which was brilliantly portrayed when he was seen chewing his candy bars.

The first time Norman appears in the film he looks like a kind young man who always tries to do good. However, in the conversation about Bates' troubles with his mother, an intensity comes into Norman's performance. His character's expressions and tones change, revealing a dominating effect that makes the audience feel uneasy and nervous. Throughout the film, there are recurring themes that contribute to its ingenious work by one of the greatest film directors ever. The theme of the mother is unusual and doesn't have a significant impact until the story's conclusion. One theme that strongly influences the film is voyeurism, although this type of pleasurable viewing is discreetly portrayed in certain parts of the production.

At the start of the

film, the camera moves across the sky before showing a city, eventually zooming in on a building and then focusing on a window. Through the window, we see Marion Crane and Sam Loomis getting dressed after having sex. This scene is significant because it is the first time in cinema history that a woman, Marion, is shown adjusting her bra while partially unclothed. This element is intended to shock and disturb the audience. It should also be noted that Marion's black underwear implies her sinful nature. Additionally, birds are commonly associated with being observers of the world, connecting to themes of voyeurism.

The film subtly incorporates the sub-theme of bird watching, as seen in Marion's last name, "Crane," the city she hails from, "Phoenix," and Norman's peculiar hobby of taxidermy, evident in the presence of stuffed birds in the house and motel. A more blatant example of voyeurism is when Bates peeks at Marion undressing and entering the bathroom through a small hole hidden behind a picture frame. The picture frame also reveals a clue to the unfolding plot, depicting a scene of murder and rape. Marriage itself serves as another significant sub-theme, as Sam's financial struggles and divorce contribute to their decision not to marry, forcing Marion to lie to her friends. The tension begins to build in the very first scene when Caroline, Marion's coworker at the real estate agency, discusses her happy marriage with her husband. Marion forces herself to smile and continue working, bottling up her own emotions. Hitchcock heightens suspense and tension throughout the film using dramatic irony, as evidenced in the hotel room scene where Marion tells Sam about the

strict check-out time of 3:30, foreshadowing...

"Little does she know that she would never check out of the motel. Also, when Sam is visited by Lila Crane, Marion's sister, a customer buying rat poison comments, "death should always be painless." It is evident that for Marion and Arbogast, it was not. The audience is aware of this fact, but the characters on screen are oblivious, creating additional tension. After Marion steals the money from her boss, she quickly packs and sets off, planning to inform Sam only after she has distanced herself enough. While leaving the city, she spots her boss Mr Lowery. Surprised, she gives him a suspicious smile and he responds with a brief second glance.

After a long time traveling, Marion decides to stop on the hard shoulder for the night. The following morning, a policeman wakes her up, causing her to immediately become nervous as she assumes she has been caught. The audience is unsure whether this is the case, as they consider the stolen money to be the crucial element in the film. The policeman asks for her license papers and then advises her that there are many motels in the area, "just to be on the safe side." This creates dramatic irony, as Marion follows his advice but faces fatal consequences. While driving through a town, she buys a new car using cash, all while being observed by the same policeman.

The audience anticipates an event and assumes that she will be apprehended. However, they are unaware of what is to come. Marion continues her journey until she is compelled to seek shelter at Bates motel due to a thunderstorm.

The thunderstorm serves as a clever visual metaphor, subtly hinting at the upcoming shower scene and the mysterious nature of the film. Initially, when Norman greets Marion, their interaction appears ordinary. Marion mentions her hunger, and after some persuasion, Norman offers her dinner. As Norman ascends the stairs "into a different world," the audience assumes he is engaged in a dispute with his mother. His mother appears excessively protective and cautious.

Upon his return, the protagonist and Marion engage in a conversation about his mother, whom he deeply cares for. This discussion causes a shift in his demeanor, as he becomes more assertive when questioned about why his mother is not residing in an elderly care facility. Here, Hitchcock's portrayal of a patriarchal society is evident, with Bates embodying a dominant male figure. As the suspense builds, Marion decides to retire to her room to take a shower; however, the stolen money is still concealed in a newspaper on the nearby cabinet. At this point, the viewers still perceive the film to revolve around the theft. Little do they know that Marion has made the decision to surrender herself and face the consequences. Subsequently, the following scene is renowned for its brilliance, as it expertly employs music, suggestion, and editing. The shower room itself is a meticulously designed set measuring 12 x 12 feet, where everything shines in brilliant white – from the shower itself to the tiles, floor, and even the toilet! Interestingly, this film marks the first-ever depiction of a toilet on screen, which adds an element of surprise.

Her underwear is now white, and the room around her is also white, symbolizing her

remorse for her sins. In the bathroom, she is completely defenseless without her clothes, making us feel sympathetic towards her as the murderer invades her personal space. This initial murder sequence required seven days of filming, utilizing seventy different camera setups to capture a mere 45 seconds of footage. Given Alfred's Catholic background, the shower serves as a metaphor for baptism and forgiveness. Throughout the scene, there are high angle shots of her showering, and at times, the camera even films her from the perspective of the shower head, with the central holes deliberately blocked off.

The shower wall could be partially removed to provide clear views of Marion's murder. When Marion's murderer enters, the pace of the film quickens and intense close-up shots capture her terror. The murderer begins slashing, creating the sound of casaba melons being cut. Hitchcock was incredibly meticulous in his set choices and actions, ensuring that nothing happened by accident. He emphasized his points by repeating them seven times. The music in this scene, composed by Bernard Herrmann, plays a vital role. As it accompanies the black and white film, the music exclusively consists of strings. During the murder, the music reaches a piercing volume and pitch, serving as the perfect aural counterpart to the glinting knife and implied stabbing. Hitchcock wanted to evoke viewers' imagination and believed it to be the most effective suggestive tool. When the murderer departs, believed to be a woman or even Bates' mother, the music stops abruptly. The film's pace drastically slows down, with only the sounds of the shower and water running down the drain. Marion falls out of the shower, tearing down the

shower curtain. The camera gradually transitions from an extreme close-up shot of the drain to an extreme close-up shot of Marion's eye. However, in reality, this eye close-up is a photograph because Janet (Marion) could not keep her eye still during that moment.

The camera then tracks from her eye, moves out of the bathroom, goes across to the money, and then focuses on the house through the window. Afterwards, we hear Norman shout, "Blood, mother blood, God no!" He rushes down to where Marion lies dead, covers his mouth, and then vomits. This takes us further away from the truth. Surely Norman wouldn't and couldn't do it. Marion is dead, so what will happen to the money? Will he find it and keep it? The audience starts to feel more nervous and disturbed as they ask themselves these questions. Like a devoted and loving son would, he disposes of the body and everything belonging to her, including the money, and cleans up the area. The film points in a different direction. The money was just a distraction, along with the presence of the policeman; they were both placed there to increase suspense. The second murder is of Milton Arbogast, a private detective hired by Marion's boss to retrieve the money.

Our sympathy for Arbogast diminishes as he encroaches upon the territory of Bates and his mother. As Arbogast cautiously ascends the stairs in Bates' home, the dichotomy between two distinct worlds is evident. There is a sudden close-up shot of his face, which creates dramatic irony. Although we witness the door opening, Arbogast remains oblivious to it. The music reaches its climax as the camera angle

changes to a high perspective, and the 'mother' emerges abruptly and stabs Arbogast. He stumbles backward down the stairs, and a medium shot captures him before he ultimately falls to the bottom, where Bates' mother continues to inflict multiple stab wounds upon him. The significance of these two killings lies in our perception rather than our visual experience. Eventually, the truth is exposed: Bates assumes the role of his mother because he murdered her and her lover, perpetrating both crimes without any discernible motives other than his undying devotion to his mother.

The narrative of Psycho is left with loose ends that cannot be tied. However, its influence on how films are made and distributed is evident. The innovations in sound, editing, mise en scene, and cinematography pioneered by Alfred Hitchcock are essential to the success of Psycho. It is thanks to his deep roots in traditional filmmaking that audiences are shocked, disturbed, surprised, and confounded by the sheer brilliance of this remarkable film. No other creation has yet matched the imaginative power and lack of closure found in Psycho.