If you want to read a really good recap of the film try the Filmsite Movie Review. It discusses plot, theme, motifs – the works. It is perfect for that last minute revision.
This post will link you to some Film Education notes on the film.
The guide looks at Alfred Hitchcock as a director and producer; narrative structure; characterisation; the use of music, motifs and irony; promotion of the film and problems of censorship. Worth a look.
I enjoyed this article on Open Culture. Go here to read and view.
Who killed Marion Crane? If you’ve watched Psycho, the best-known film by British master of cinematic suspense Alfred Hitchcock, you have the answer. And given that the picture came out in 1960, even if you haven’t seen it, you probably know the answer anyway. But today’s Hitchcock-loving cinéastes and enthusiasts of design have another important question to consider: who directed Marion Crane getting killed?
What is the big deal about Alfred Hitchcock? Why are his films considered to be so significant? In this documentary, Hitchcock scholar Jeffrey Michael Bays explores the camera and editing techniques that recur through Hitchcock’s films. With an emphasis on emotional faces and glances from his actors, he was able to paint his scenes in a way that drew his viewers into the minds of the characters.
This is the film we talked about in class. The trailer is fantastic – almost as good as Hitchcock taking us through the Bates Motel!
Also go here to read ‘My favourite Hitchcock: Vertigo’ by Rhik Sammader. Here’s a little:
The trouble with being the best movie of all time is that Vertigo is now an easy target for criticism. But this strange, frustrating story of a haunted pervert will always evade definition. Hypnotised and hypnotic, mad and maddening, surely no commercial studio film (admittedly, a commercial and critical flop on its release) has ever offered and withheld such intricacy of intent and interpretation as Alfred Hitchcock’s Vertigo. Pored over, parsed for clues, yanked to and fro by academics and psychoanalysts, its spirals of meaning permeate the development of film theory like the ringbound spine of a syllabus folder.
Alfred Hitchcock’s 1960 horror thriller ‘Psycho’ is one of the most celebrated films in history. In ‘Psycho’, Alfred Hitchcock not only created a blazing masterpiece and spawned a new cinematic genre – the slasher. He also delivered one of the boldest blows in screen history. It was not just how he killed Janet Leigh’s Marion Crane, astonishing though that was – it was when.
Read the rest of this recent review here.
Jump over to Flavorwire to get a headstart on learning about director Alfred Hitchcock. The guide looks at earmarking his major motifs, significant films, and relevant facts.
Senses of Cinema has an interesting page dedicated to Alfred Hitchcock and you will find it here. Have a look at this article The Sixties, the Thriller and the Judge which discusses the film Psycho in some depth and the author Richard Franklin feels that “what continues to elevate Hitchcock’s little black-and-white divertissement is the characterization of Norman Bates”.
Have a look at these re-imagined posters for some famous Hitchcock movies. The series is by graphic design student Oliver Callan. You can find more here.
The Alfred Hitchcock Wiki is a good place to start if you want to find out more about Hitchcock and his film Psycho.
According to Den of Geek, Hitchcock came to define entire genres of cinema in a career that spanned over 50 years and over 50 films. His body of work – not to mention his rotund body itself – is both immense and iconic, full of tense thrillers, psycho-dramas and adventure flicks that were not only wildly popular at the time, but inspired both critical re-evaluation and whole new generations of filmmakers in ensuing years.
The French New Wave critics picked Hitchcock as a prime example for their auteur theory, a way of reading films that highlights the creative authority of the director over all other influences.
Den of Geek believe that Psycho is one of the top 10 Alfred Hitchcock films and say:
Psycho is an undisputed horror classic. Its impact is only slightly diminished by the fact that almost all of its iconic moments have been parodied, sampled and ripped off time and again for the last 50 years. Bernard Herrmann’s razor-sharp string arrangements, Anthony Perkins’ genuinely creepy turn as the shy, charming killer Norman Bates, and Janet Leigh’s grisly murder in the shower are all very familiar even if you’re not a horror aficionado, but it is essential viewing nonetheless.
Shot on a much smaller budget than Hitchcock’s previous films, and using the close-knit crew he’d groomed on his Alfred Hitchcock Presents television show, Psycho was a lean, effective, and inspired thriller that arguably gave birth to a genre of its own. And it paid off.
Made for a mere $800,000 – less than a quarter of the cost of its immediate predecessor North By Northwest – Psycho grossed upwards of $30 million over its extended run, and provided Universal with a property it has continued to milk to this day. But, more than anything, it served as Hitchcock’s most daring riposte to the Production Code, delivering an edgy, thrilling film that dealt with horrific matters intelligently and artfully. When twinned with similar films of the period, such as Otto Preminger’s Anatomy Of A Murder, it helped sound the death knell for Hollywood’s most conservative institution.