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Psycho (1960)

Psycho (1960)

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Published by kinblob
Physco killer, Alfred Hitchcock
Physco killer, Alfred Hitchcock

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Categories:Types, Reviews
Published by: kinblob on Feb 02, 2013
Copyright:Attribution Non-commercial


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Psycho (1960)
Alfred Hitchcock
Anthony Perkins ... Norman BatesVera Miles ... Lila CraneJohn Gavin ... Sam LoomisJanet Leigh ... Marion CraneMartin Balsam ... Det. Milton ArbogastJohn McIntire ... Sheriff Al ChambersSimon Oakland ... Dr. Fred RichmanFrank Albertson ... Tom CassidyPatricia Hitchcock ... Caroline (as Pat Hitchcock)Vaughn Taylor ... George LoweryLurene Tuttle ... Mrs. ChambersJohn Anderson ... California CharlieMort Mills ... Highway Patrol Officer
Figure 1. Film Poster
s Psycho is a suspense filled horror film, it leads the viewers through a story which is ultimately about a dysfunctionalAmerican family, it explores the dark side of the American dream, and makes good use of the
to get the desired effect,The film introduces the main character very later on in the film, and in terms of story this made the film more interesting as theviewers expect the film to end at a certain point, but when it continues on, more questions are answers. Psycho has a final actwhere everything in it is film explained; this would be the biggest critique of the film, because for modern audiences, unlikeHitchcock
, Psycho didn
t need an expert spelling everything out to them.For a lengthy part of the film, the audience is committed to Janet Leigh
s character (Marion Crane), and there
s vested interest inher, the audience begins to almost want her to get to where she wants to without being caught, this is mostly down to how longthe viewer is exposed to her, the relationship between the viewer and Janet Leigh inevitably starts with her stealing money,everything at this point is very real, the viewer
s now gone through with her from her dilemma to the decision, when it came toleaving town with the money a moment which felt the most intimate and the most real was where she waits at a stop sign as herboss spots her in a car on her way out of town, Bradshaw from the guardian describes it as
more psychologically convincing and  real than anything else in this baroque, inspired shocker 
(Bradshaw, 2010), it
s real and very convincing because it isn
t dark,everyone can relate to situation like this, not everyone steals, but it
s very normal to be caught out from a little white lie, and withthat simple short part of the film
is able to spark the
interest with Leigh
s character.As Psycho continues
make assumptions and therefore have these expectations, the film breaks all expectations with twobig surprises, the biggest being, the death of a character the viewers are forced to accept, and the second being the unveiling theserial killer,
its true ingeniousness lies in its construction 
(Berardinelli, 1998) it
s act is cleverly structured to misdirect you,though if the film
s closely studied there little hint dropped by Hitchcock, it
s almost like he
s playing with the viewer to see ifanyone
s able to break it
s code.Psycho was released 1960 and for its time it was risky, here Hitchcock was ticking a checklist of things which were looked at astaboo to be on the big screen, he dared to break the
but as it
s evident the little things he did made strengthened the storyand the experience as a whole,
a highly courageous and explicit film 
(Putman, 1998) as descried by Putman in 1998, right nowPsycho wouldn
t be as explicit and courageous, as many films follow this formula, most of them being inspired by Hitchcock.
Figure 2. Marion Carne leaving town

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