Psycho
You could probably count on one hand the number of movies in the history of cinema that have had a truly groundbreaking, seismic effect in the history of the industry. Such is Alfred Hitchcock’s 1960 Grand Masterpiece, which among other things, changed the face of horror, set new standards in graphic violence and sexuality in movies, and became probably the first film to become part of our modern pop culture lexicon. Indeed, so many countless movies since have either homaged, spoofed, or referenced this since its release that it would take days to describe the influence it has had, including a horrid abortion of a remake in 1998. Anthony Perkins as Norman Bates became the ultimate movie villain for all time, and established a mold that would not be broken until Anthony Hopkins played Hannibal Lecter in The Silence Of The Lambs over 30 years later. The truly amazing thing is, as tame as the movie is today, what it must have been like back in 1960 to see this for the first time, not knowing what was going to happen, as Hitchcock deliberately manipulated the advertising to make audiences think that Janet Leigh WAS the star of the film, as she was the biggest name in the cast, only to meet her end at around the 40-minute mark in without a doubt the most iconic single death scene in history. That Leigh’s character (who has committed a rather large theft) comes off as so warm and likable despite her shady actions makes the scene all the more heartbreaking as well as scary, and is probably why she scored a Supporting Actress Oscar Nomination at the time. The real mystery though, is why Perkins was overlooked for a nom, as few actors have ever gotten into the skin of a particular character more than he does here (due no doubt to the actor’s real-life Oedipus complex with his own mother as he was growing up), making Norman friendly, affable, awkward, and with just the right hint of subtlety, frightening. In other roles, Vera Miles is appealing as Leigh’s concerned sister; John Gavin as the more standard hero of the piece is pretty solid (even if Hitchcock despised his presumed lack of talent); Martin Balsam slides right in with a fine laconic turn as the detective looking into the case; and Simon Oakland goes a good job of “setting us at ease” as the psychiatrist who gives a clinical, rational explanation of what Norman’s issues are. The only drawback on the screenplay level is a late scene involving the local sheriff which telegraphs the shock twist ending about 25 minutes before it happens, but that’s only really a concern for first-time watchers who have no idea what’s going to happen before they see it (a somewhat dying breed in today’s day and age given the reverence of the film). Overall, a classic that mere words can do no justice to, riveting right up to the final shot and monologue…
9/10