Psycho (1960) Review

Fig 1. Psycho (1960) poster

Introduction

This review looks at the 1960 film Psycho directed by Alfred Hitchcock and examines the intricacies
of Bernard Herrmann’s musical score and soundtrack of the film. The themes, implications and
emotions that it invokes and how it corresponds to the narrative and thematic content of the
production. Sources included to support my assertions comprise of an article from the NPR, the
Bafta Guru and an essay from the University of Arkansas.

Psycho (1960) chronicles the story of a peculiar man by the name of Norman Bates, the owner of the
Bates Motel where he and his mother live. As the film progresses more of Bates’s backstory comes to
fruition. The audience witnesses his unnatural behaviour soon culminates in a grotesque and
harrowing climax.

It has been argued by some that Psycho is able to create its unique and unsettling atmosphere and
emotion using its musical score, from calm, slow-tempo rhythm heard when the character of Arbogast
ascends the stairs in the Bates Motel to the more dramatic, overt score produced when the character
Marion is seen driving along the dark highway. Perhaps, argued by some to be one of the greatest
themes created throughout film history, the direful and often abrupt screeching theme that is
produced when a character is about to be murdered, such as Marion in the famous shower scene,
Arbogast investigating the house and when Lila Crane discovers Norman’s hideous secret. Once more
every theme and tune heard is composed entirely of strings, a result of budgetary cuts made to the
film.

Fig 2. Bernard Hermann

In an NPR article, Steven Smith is quoted as saying “And Benny later said that he wanted to
complement the black-and-white photography with a black-and-white score. Well, just as there's
tremendous range in black-and-white movies in the photography of them, Herrmann found
tremendous range within this limited group of instruments, the string section” (SIEGEL, 2000). This
point is very possible, the limited palette used to capture the essence suspense and fear in the
cinematography from harsh shadows and stark lighting, is very much reflected by the pure usage of
violins and strings in the film score. While finite in terms of instruments the range is quite impressive.
Herrmann manages to capture the ordained terror of the film from low, slow rhythms to heart-racing,
high-pitched tones akin to screeching; it’s able to emphasize the fear felt by Marion and the audience
the moment her life is about to end.

Another example of the film’s soundtrack utilized to classically convey emotion is the very beginning.
A slow, dramatic theme that begins from the time very first credit appears on screen to the first,
flowing establishing shot of the film, the opening theme establishes the tone of the film quite
masterfully. In an article on Bafta Guru: “The great thing about this is that you have a range of
tonalities and effects, and also pitch – you can go from the very lowest note in the double basses right
up to the higher harmonics in the violins. Also, you can pluck the strings, hit the instrument with your
bow… there’s an awful lot of things you can do on strings to make it sound different” (Arnold, 2011).
It is a highly probable point as the alternating tempo, rhythms, pitch can develop into a plethora of
suspenseful beats and symbolism throughout the runtime.

Fig 3.

The symbolism that can be procured from the soundtrack ranges from the calm, low-tempo notes
indicating a sustained tension as Arbogast climbs the stairs and Lila walks up to the Bates’ house to
the loud, panicking screaming of the high notes representing the terror and the true nature of
Normans nature. In a dissertation written by Stephen Husarik, he claims: “Many visual images in the
film correspond to these ascending and descending cascades”, “The musical and dramatic outcome of
Lila’s climb to Bates’ house is ambiguity, but her continued search leads to the discovery of Norman’s
madness in the basement of the house” (Husarik, 2007). A very evident point given that the music
often designates an important moment within the narrative, such as when we see Marion eluding
town or Lila arriving to the doors of the Bates’ House.
 Fig 4. Bates Motel

Conclusion

Alfred Hitchcock’s Psycho (1960) is able to utilize its soundtrack to invoke emotions and create an
atmosphere of dread. The use of purely strings helps suggest a spectrum of psychological and
emotional impact towards the audience. The singular rhythms help essentialize a mood of tension and
unease; the world of Psycho (1960) feels like a dangerous and mysterious one. The antagonists of such
a world are cloaked in a miasma of dreaded psychological horror.

Bibliography
Arnold, C. D. (2011, April 2). Behind the Mask: Music in Psycho. Retrieved from Bafta Guru:
http://guru.bafta.org/behind-mask-music-psycho

Husarik, S. (2007, March 02). Transformation of “The Psycho Theme” in Psycho. Nashville: University
of Arkansas . Retrieved from Univer:
http://www.bernardherrmann.org/legacy/site/articles/misc/transformation_of_the_psycho
_theme/transformation_of_the_psycho_theme.pdf

SIEGEL, R. (2000, June 23). Bernard Herrmann's Score to 'Psycho'. Retrieved from NPR:
https://www.npr.org/2000/10/30/1113215/bernard-herrmanns-score-to-
psycho?t=1549833091512

Illustration List

Fig 1. Psycho (1960) poster [Poster] (1960) At: https://www.imdb.com/title/tt0054215/ Created on:
12/02/1999 Accessed in: 11/02/2019

Fig 2. Bernard Hermann [Image] (1960) At: https://www.npr.org/2000/10/30/1113215/bernard-

herrmanns-score-to-psycho?t=1549833091512 Created on: October 30, 2000 Accessed on:
11/02/2019

Fig 3. Opening Scene [Scene] (1960) At: https://www.youtube.com/watch?v=bvNMdsJ8R5c Created

on: 15/03/2016 Accessed on: 11/02/2019

Fig 4. Bates Motel [Picture] (1960) At: https://paulvansprundel.wordpress.com/2013/08/27/the-

bates-house-universal-city-studios-1959/ Created on: August 27, 2013 Accessed on: 11/02/2019