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  1. Psycho was seen as a departure from Hitchcock's previous film North by Northwest, as it was filmed on a lower budget in black-and-white by the crew of his television series Alfred Hitchcock Presents. The film was initially considered controversial and received mixed reviews, but audience interest and outstanding box-office returns prompted a major critical re-evaluation.

  2. › title › tt0054215Psycho (1960) - IMDb

    Psycho: Directed by Alfred Hitchcock. With Anthony Perkins, Vera Miles, John Gavin, Janet Leigh. A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.

    • (641.9K)
    • 1 min
    • Telegonus
  3. En 2013 se estrena la película Hitchcock basada en el libro de Alfred Hitchcock and the Making of Psycho de Stephen Rebello en la que se trata el rodaje de esta película. [83] El 18 de marzo de 2013 fue estrenada la serie Bates Motel en la cadena estadounidense A&E Networks.

    • Joseph Stefano
    • Psicosis
  4. Psicosis es una película dirigida por Alfred Hitchcock con Anthony Perkins, Janet Leigh, John Gavin, Vera Miles .... Año: 1960. Título original: Psycho. Sinopsis: Marion Crane, una joven secretaria, tras cometer el robo de un dinero en su empresa, huye de la ciudad y, después de conducir durante horas, decide descansar en un pequeño y apartado motel de ...

    • (107)
    • Anthony Perkins
    • Alfred Hitchcock
  5. 04/11/2020 · 1960 - Psycho - Psicosis - Alfred Hitchcock - VOSE. Publication date 1960 Topics 1960, Film noir tardío, Alfred Hitchcock. For Academic / Educational Use ...

    • 109 min
    • 7.1K
    • derecho-noir
  6. Alfred Hitchcock’s Psycho was first screened in New York on 16 June 1960. It was an immediate box-office success. From the start, expectant filmgoers began queuing in Broadway at 8.00am setting a pattern for audiences worldwide. By the end of its first year, Psycho had earned $15 million – over fifteen times as much as it cost to make.

    • 1MB
    • 19
    • Introduction
    • Synopsis
    • Background
    • Robert Bloch
    • Pre-Production
    • Production
    • Analysis
    • Understanding Hitchcock
    • The Secrets of Psycho
    • More Secrets…

    In many ways, Psycho is the perfect film school movie. In addition to containing what is perhaps the most studied sequence in all of cinema history, the film is replete with hidden clues, layered meaning, and an elaborately orchestrated structure. Simply put, delving into some of these “Secrets of Psycho” helps illustrate why the study of film can be so fascinating and rewarding. Plus, it’s just plain fun.

    Just on the off chance you’ve never seen it, Psychotells the tale of a young woman named Marion Crane (Janet Leigh) who impulsively steals $40,000 from her employer after being given the money to deposit in a bank. She drives overnight and takes a room at a second-rate motel run by a very nice young man named Norman Bates (Anthony Perkins). During casual conversation, Marion learns that Norman is controlled by a domineering mother who lives in the house behind the motel. That evening, Marion has a change of heart and decides to return the money she has stolen. In a cleansing act, she decides to take a shower. Bad timing. While in the shower, what appears to be an elderly woman enters the bathroom and brutally stabs Marion to death. A detective (Martin Balsam) is sent to investigate. He too is killed by the presumed old woman. Finally, Marion’s sister and boyfriend check into the motel to find out what’s really going on. It turns out that Norman murdered his mother and her lover year...

    Psycho, of course, was directed by the great Alfred Hitchcock. Back in 1959, the auteur was just coming off his greatest commercial hit, North By Northwest. The film had made gobs of money for Paramount Pictures and was praised to the high heavens by film critics and audiences alike. In the process, it had solidified Hitchcock’s reputation as one of the most famous and admired directors in the world. For his next project, Hitchcock knew he had carte blanche to tackle any subject matter. However, his production company was totally shocked when he informed them he wanted to make a low-budget horror film. Hitchcock told his staff that he wanted to explore what a filmmaker “who knew what he was doing” could do within the genre. Subsequently, he asked them to begin searching for a suitable property.

    A month later, they brought him a copy of Psycho, written by Robert Bloch. The novel had received a favorable review in the New York Times and Hitchcock was enthralled by the idea of the main character getting killed off so early in the story. He asked his production company to secure the rights. At the time, Robert Bloch was a struggling writer living near Milwaukee, Wisconsin. Most of Bloch’s meager earnings were spent on heating oil and winter clothing. One day his agent informed him that a “blind bidder” had offered $5,000 for the movie rights to the book. Bloch didn’t know who the bidder was. Although the amount represented a paltry sum of money, he was almost desperate enough to take it with no questions asked. However, something told him that movie offers didn’t come along every day. Bloch told his agent to hold out for more. When the next offer came back at $9,500, he grabbed it. Only then did he find out that Hitchcock was the buyer. It still wasn’t a lot of money, but the...

    Hitchcock, however, had his own set of problems with the property. The suits at Paramount had balked at the unusual subject matter. Also, although Hitchcock was contractually obligated to make one more film for the studio, they were looking more for another prestige picture like North By Northwest. Not a twisted tale of murder and madness in a rundown motel. As a result, Paramount refused to put up the money for the film’s budget. “Fine,” said Hitchcock. He’d finance Psychoout of his own pocket, and Paramount could distribute the film for a percentage of the gross. To keep costs down, Hitchcock planned on using the technicians from his TV show. Not a veteran film crew. To make sure it wouldn’t be too closely associated with the project, and to try and dissuade Hitchcock, Paramount refused to let the film be shot at their studio. Again, the director was undaunted. He rented facilities over at Universal where construction began on the Bates Motel and the Gothic house which looks over...

    Psycho only cost $800,000 to make. Even in 1959, this was a small budget for a film. Psycho‘s final cost actually turned out to be $2.8 million. The extra $2 million ended up being Hitchcock’s percentage fee after all the theatrical receipts rolled in. The film only took a little over two months to film. That’s a short span of time for a Hollywood film. This makes its depth and influence all the more remarkable. Speaking of which, let’s start with the shower scene. It took exactly seven days to shoot, and as mentioned previously, it’s probably the most studied sequence in all of film history. Entire papers have been written about it. Yet, it’s only 45 seconds long. According to the documentary 78/52, it’s comprised of 78 different camera setups and 52 shots. While this type of “montage” had been around since the Russian silent cinema of Sergei Eisenstein, never before had this editing style been used to such shocking effect. Subsequently, the viewer is left with the impression that...

    Psychois a film full of “firsts.” The first film to show a toilet (with a close-up of it being flushed to boot). It was the first film to show a major star (Janet Leigh) wearing a brassiere. It was the first film to show two people half-clothed lying on the same bed. Also, it was the first film to have an orchestral score done entirely in strings. Finally, it was the first film that made you identify with the killer, and not their victims. Something reflected today in the films of Jason, Freddy, Michael Myers, and Chucky. This last element is the key to understanding the structure of Psycho. Norman is depicted as a likable young man, desperately trying to escape the fate inflicted upon him by his domineering mother. When Detective Arbogast (Martin Balsam) catches Norman in a lie, you squirm in discomfort. Likewise, when Norman tries to dispose of Marion’s body by driving her car into the swamp, it stops sinking for what seems like an eternity. Audiences in 1960 would gasp and scream...

    To further understand Hitchcock’s perverted sensibilities, also consider the scene where Arbogast is murdered on the stairs. When that sequence was originally shot, the assistant director had closeups of the detective’s hand grasping the rail as he climbed the stairwell. There was also an additional close-up shot of his feet going up the steps. When Hitchcock saw these two shots, he stated that he couldn’t use them. “Why in the world not?”asked the director’s crew. Hitchcock explained that those two shots put the audience in the frame of mind of the victim. However, what he really wanted was for them to think like the murderer.

    Hitchcock was always mentally placing himself in the seat of a theater. One-shot in the movie nearly rivals the shower sequence in terms of technical virtuosity. However, the scene is not nearly as famous. This is when Norman goes upstairs to pick up “mother” and move her down into the fruit cellar. First, watch Norman’s hips as he climbs the stairs. They have a very pronounced feminine swing to them. This was completely intentional. It’s one of several tip-offs as to Norman’s dual sexuality. Then, before Norman disappears up into his mother’s room at the top of the landing, the camera follows behind him, hovering in the air. At the top, it fixates on the top of a door and then swings completely around to look back down the stairs as Norman carries a complaining Mrs. Bates down to the cellar. In order to get this amazing shot, the entire roof of the set needed to come apart and lift off. This was to fit the camera and operator into the compacted space so they could turn around and r...

    The answer is that Hitchcock had already used up his bag of tricks to hide the fact that Mrs. Bates was already dead. The silhouette in the shower, the shadow at the window, the closeup of her feet when she attacks the detective. He knew that a similar “ruse” would tip the audience off to the reveal. As a result, Hitchcock devised this elaborate camera move, just to disguise that fact. The viewer is so busy wondering where the camera is headed, you don’t stop and ask yourself the obvious question which is why don’t we ever see Norman’s mother? When we finally see mother’s corpse, there was much discussion as to what they were going to show. Hitchcock loved practical jokes. So, he had his crew put together several versions of the “mother” dummy. Then, over the course of a week, they would hide them in Janet Leigh’s dressing room. The one that got the biggest scream was the one they used in the picture.

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