Write descriptive essay about Psycho movie 1960, write an essay of at least 500 words on Psycho, 5 paragraph essay on Psycho, definition essay, descriptive essay, dichotomy essay.
Psycho
Year:
1960
Country:
USA
Genre:
Thriller, Mystery, Horror
IMDB rating:
8.6
Director:
Alfred Hitchcock
Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Martin Balsam as Milton Arbogast
John McIntire as Deputy Sheriff Al Chambers
Simon Oakland as Dr. Fred Richmond
Vaughn Taylor as George Lowery
Frank Albertson as Tom Cassidy
Lurene Tuttle as Mrs. Chambers
Patricia Hitchcock as Caroline
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Storyline: Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.
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HQ DVD-rip 852x480 px 1297 Mb h.264 1500 Kbps flv Download
Reviews
Movie At The Crossroads Of Time
What can you say about a film that's been talked about to death? Just this: If you've never seen it, you owe it to yourself to do so, not because it's a way of paying homage to the one true master of modern film, but because it's so fun to watch.

Janet Leigh plays a bored office drone who decides to steal some loot from her boss's obnoxious client and parlay it into a new life with her all-too-distant boyfriend. All is going more or less according to plan until she stops in at the wrong motel, where she befriends a friendly if somewhat nerdy desk clerk only to find it causes problems with that clerk's possessive mother, who as her boy explains, "is not herself today." I'll say she isn't, and so would Leigh's Marion Crane, who maybe should have put up that "Do-Not-Disturb" sign before taking a shower.

You can feel the decade literally shifting out of '50s and into '60s with this one. Even the opening shot, where the camera looks over a Western U.S. city in the middle of the afternoon and zooms in on what looks exactly like the Texas School Book Depository overlooking Dealey Plaza. Norman Rockwell touches abound, like the decor of the motel, but look at what's going on around it. People dress well, they still wear fedoras and jackets, but in their tense conversations and hooded gazes you can feel the culture just ticking away like a time bomb waiting to explode.

Most especially, there's Anthony Perkins, who plays motel clerk Norman Bates in a very oddly naturalistic way, complete with facial tics and half-swallowed words, not the polished image one expected to see then. Just compare him with John Gavin, who plays Marion's boyfriend in the standard-actor-of-the-day way. Perkins manages to be so weirdly magnetizing, even in small moments like the way he stumbles on the word "falsity" or notes how creepy he finds dampness to be.

He shines in bigger scenes, too, like his tense chat with Martin Balsam's boorish but diligent private detective character, Arbogast, who along with Perkins and Leigh delivers a landmark performance. The way both actors play out the awkwardness in their conversation makes you literally sweat. Then again, you're always uneasy around Norman. You definitely feel wary of him right away, but you find yourself liking him, too, even when he's busy covering up "Mother's" misdeeds. Not since Bela Legosi played Dracula did you get a horror movie with such a compelling central figure.

If you are sampling the many other comments here, be sure to look up Merwyn Grote's. He makes an interesting, compelling case for how director Alfred Hitchcock used his television series as a template for "Psycho." Certainly "Psycho" looks more like early 1960s television than any of the more sumptuous fare Hitchcock had been bringing to screen at the time. Not only is it in black-and-white, not color, but the sets; a ramshackle motel, a mothbally old house, a couple of cheap looking bedrooms, a bathroom in a used-car dealership, are deliberately low class.

It's thrilling to see Hitchcock move so effectively outside his normal element, and move things along with such clinical detachment and low-key technical finesse. Thrilling, too, to realize this is one of his most accomplished products; made by a man who was experienced enough to know how the game was played, and daring enough still to break the rules; indeed, start a whole new ballgame.

Is it the best Hitchcock movie? It's definitely one of his best, right up there with "The 39 Steps" and "Strangers On A Train" and "Sabotage" and "Shadow Of A Doubt." He only once again came close to making as good a film, with "The Birds," while Janet Leigh and Anthony Perkins never escaped the greatness they helped create here. Poor John Gavin had to quit the biz entirely, and became an ambassador.

Often imitated, parodied, referenced, and analyzed to death, "Psycho" still isn't played out nearly 45 years after it came out. You owe it to yourself to pay a visit to the Bates Motel; Norman has a room ready.
2004-08-10
A horror masterpiece
This is one of the most well-crafted horror film of all time. I can't say much about this film that hasn't already been said, so I'll just say it is eerie, suspenseful, and well-told. With this, Hitchcock became one of the best directors ever. 5/5 stars.
1999-07-28
"Why, she wouldn't even harm a fly..."
In a long line of great films, Psycho has got to be Alfred Hitchcock's most entertaining. Despite being a horror movie, and having its fair share of genuinely frightening moments, Psycho has always struck me as being made to have a certain lighthearted charm. I have to imagine when Alfred Hitchcock made this film he was having fun and wanted the film to be as fun for us as it was for him. It's one of my favorite scary movies, but when I look back to it I don't think of it at all like I do the others on the list. This movie is just a good time.

If Psycho was a person, and its fun, creepy atmosphere was its skin, and Anthony Perkins was its face I guess, Its structure would be a crazy adamantite skeleton and its pacing? Well, synthetic cyborg muscles of course. For a horror film to maintain the feeling it needs to keep its viewers attention in the events leading up to the scares, it needs to have a solid setup for the plot that goes on long enough for it to not feel rushed but not so overlong that it becomes boring and takes away from the impact of the scary moments it's building up to. It needs to be interesting enough to not feel like a chore, but still understand its role as a vehicle for the frightening moments in the films. The story takes a back seat to the scary stuff in a horror movie. The good ones understand this, but the best of them do it in a way that doesn't compromise the quality of the story. Psycho is a shining example of a balanced and well executed horror film narrative. It's the king of this technique. the events leading up to Marion Crane's trip to the Bates motel work exceptionally well, and her encounters with the police officers at the dealership and on the road do an amazing job of establishing the spooky feel of the film in a seamless way and work to keep the viewer interested in what's to come. The ease with which Hitchcock leads into the events that take place at the motel are a huge part of what allows him to make the film such a good time.

You can't sing the praises of Psycho without applauding the incredible work Anthony Perkins does as the film's criminally insane leading man- the one and only Norman motherloving Bates. Perkins' ability to personify a person with such a severe case of dissociative identity disorder is so unbelievably good you'd think this guy went home at the end of the day and lived life as Norman Bates instead of himself. Not only does he have such an intrinsic ability to play the psycho, but he does such an impeccable job of committing Norman's crimes as well. When he sneaks up on the woman in the legendary and absolutely immortal shower scene, he does so like he was made to be a movie monster, and when he rushes in to attack the detective to the sound of Bernard Herrmann's screeching soundtrack he could scare a banana straight out of its goshdang peel. And bananas don't even have eyes or ears or even watch movies in the first place.

I love this film. it's a champion of horror. In a genre where so many films can only be fun by sacrificing the scares or just by being low budget bargain bin Netflix dumpster movies, Psycho triumphs in its ability to conquer everything important to entertain horror fans. Alfred Hitchcock's talent is so palpable in this film it may just as well turn itself into a big spoonful of Bates flavored gelato and fly its way right into the brain mouths of everyone watching. Gelato only has half the calories of regular ice cream, too. You ever try it? It's like ice cream pudding. It's great. Just like this film.
2014-11-10
great
This is one Hitchcock's best, except for that dumb final speech, which is entirely unnecessary. But it redeems itself with that final shot. Can you believe they've made another "Psycho?" This is the worst thing to happen to movies since Ted Turner wanted to colorize "Citizen Kane," but that never happened. This is happening. This just sickens me to think about it. And of course we're going to get those geeky teenagers that will make the film a profit. Gus Van Sant used to be a good director, now he's just another make-movies-for-profit-only director. SELL OUT!
1998-10-29
One of the best horror movies I have seen.
Let's face it, Alfred Hitchcock was a genius! He managed to capture the true demented character of Norman Bates. In the 90's Psycho does not seem to be one of the scariest movies around. But the way Hitchock managed the lighting and camera angles, made it so obvious why this movie became such a hit. I just saw this movie a few months ago, and even then, everyone I watched it with seemed delighted to scream again at the geinius of Alfred Hitchcock.
1999-05-18
OG horror
Alfred Hitchcock's Psycho is a god tier horror movie and I'd say its probably the best example of classic horror. The story has at this point been told and remixed 1000 different ways over the years but because of Alfred's understanding of human fear and his incredible skill as a director no other film maker can come close to creating as captivating of a psychopath as the infamous Norman Bates (Anthony Perkins). I love the symbolism in the very last scene where Norman sits alone in the chair and claims he'd never hurt a fly. Very clever and unorthodox camera angles keep the viewer on the edge of their seat while watching this film especially during the scenes where Norman attacks his victims and the famous shrieking sound effect begins to play. If you have never seen this movie and enjoy horror movies it is definitely worth watching. Even though compared to current film it may seem dated because of the lack of special effects and computer animation the rawness and great use of music and sound effects by Hitchcock make this slasher flick stand the test of time.
2013-04-02
Don't worry... NOT A SPOILER
Knowing all of Hitchcock's little quirks makes watching one of his films more interesting. His preference of blondes, his obsession with the bathroom and the letters BM are just a few. Hitchcock liked to use foreshadowing also in his films, which makes the film more interesting to the viewer because while some would think it distracts from the element of surprise, it's done in such a subtle way that it only makes a difference if the viewer is looking for it. The viewer isn't sure what will happen next but there are little clues to add more of the mystery element to the suspense story. Also, the actors play their scenes well… especially Anthony Perkins who seems to have schizophrenia down to a science.

Janet Leigh does well as a confused girl gone bad, (Not so much a good girl because she has hotel rendezvous with a certain non-committal man.) her character Marion Crane, takes a drastic measure in hopes to seal the deal with her boyfriend and things don't work out so well for her. In this process Janet has to act out the famous `shower scene' and does so very well; it has to be difficult to play a naked woman in a distressed situation but the viewer wouldn't guess so from her performance. Anthony Perkins, who plays Norman Bates, also does very well, he is truly an amazing actor. When Anthony plays the actual Norman he's so convincing as a charming young man, as a female viewer it's almost hard to not fall for the boy-next-door facade he puts on; then there is Norman's alter-ego, his other half, that the viewer gains full details about at the conclusion of the film. This alter ego is not displayed until the ending also in a very creepy moment that takes the cake for this performance.



The little clues that Hitchcock places in the story are very subtle but are fun to think about after viewing the movie, for instance, Norman's love for stuffing things and keeping them `alive' so to speak; after watching the film it puts a few more pieces of the puzzle together. Another of Hitchcock's quirks is to show up in his film at random spots, one of which is in front of the business where Marion works. Hitchcock has a hat on and is standing on the sidewalk waiting to cross the street in the scene when Marion comes back from her lunch break. The work scene also displays yet another of Hitchcock's loves: blondes. There are two secretaries in the office, Marion the blonde and her opposite the brunette who doesn't even get named. A very wealthy businessman comes into the workplace and immediately gives his attention to Marion, not only that but her opposite is a complete ditz. She doesn't sound very intelligent and seems very oblivious, especially when she makes the comment that Mr. `Wealthy' must have seen her wedding ring that's why he didn't flirt with her. (When in fact it's obvious that she's NOT very attractive.

All in all this movie was very good, the suspenseful moments are very effective and this viewer found herself plugging her ears and turning her head at some moments. Psycho has received many outstanding reviews and they are justly given, this reviewer would recommend this movie to anyone who enjoys suspenseful movies even if some of the `fight' scenes are a little corny. (It is filmed in the 60's) Just be prepared to avoid motel showers in fear of being `all washed up'.
2004-02-20
a classic, but hardly Hitch's best
The first time I saw this film I was quite disappointed. So much of it has become cliché in the four decades since its release, including the famous shower scene, Perkins' oedipal relationship with his mother, and even Bernard Herrmann's unsettling score. I had known the identity of Perkins' "mother" even before I saw the film and had to be told by a sibling that the audience was not supposed to be aware of this up to the last. It was like knowing the punch line in advance and not really getting the joke once it was actually told. It is, to be sure, a tribute to Hitchcock that this film has become so much a part of North American popular culture, but the downside is that the element of shock that so affected audiences back in 1960 is almost entirely lost on a later generation of viewers. One thus has to imagine what it would have been like to see it during its first run in the movie theatres.

Had I been there at its opening, I think I would still have judged this film to be inferior to the string of excellent Hitchcock offerings preceding it during the previous decade–from "Strangers on a Train" to "North by Northwest." Why? So much of his previous work had relied on the use of suspense to draw the viewers into the plot. A good thriller builds this up carefully and deliberately until the final climax at or near the end of the film. Good suspense leaves much unstated and works its way subtly into the imagination. It's what you don't see that's the scariest. Think, for example, of the murder in "Rear Window." You hear a crash and a short, shrill scream followed by ominous silence, but you're not really sure what's happened until much later. Here, on the other hand, Hitch kills off his heroine brutally near the beginning of the film, leaving little if anything to the imagination, and largely putting aside the issues we had been misled to think the plot was building up to.

Moreover, despite Hitch's tongue-in-cheek claim that he had intended it as a comedy, there is little of the director's famous humour so much in evidence in the immediately preceding film, "North by Northwest." There is not much humour to be found in shock, while there is great humorous potential in suspense. He should have stuck with suspense and left shock to a lesser director.

I alluded to Herrmann's score. Without it, I think this would have been judged a far less effective film and less the classic it is generally reputed to be. Imagine Leigh driving along the highway without the composer's jittery music in the background–or, perhaps more accurately, the foreground. In such scenes it is the music that almost entirely creates the suspenseful atmosphere. Without it there is nothing of the sort–just Leigh driving and looking in her rear view mirror. Period. Not very scary.

Is it a classic then? It is, insofar as it influenced a whole generation of movie-goers and film makers who sought to imitate it. But on its own merits, I don't think so.
2001-02-12
Perkins Is Remarkable
Most modern-day horror films make the killer to be an absolutely inhuman, grotesque, unimaginable monster in order to scare the audience out of its wits. Most of the time, however, these stereotypes create a generic murderer a raving, ranting, clearly demented psychopath. One of the few memorable cinematic killers that does not adhere to these restraints and cliches is, of course, Anthony Hopkins' Hannibal Lecter, whom manages to effectively cause the audience to recoil without such drek as the aforementioned devices.

Anthony Perkins' skillfully crafts his performance as Norman Bates, avoiding a ranting, raving, drooling, murder-happy, manic characterization; instead his performance as Norman is subtle, creepy, cool, and unsettling. He is brilliant; from his quiet conversations with Marion Crane amidst the stuffed birds, to his weasling wimpiness when confronted by Arbogast, his performance is so exact that it chills the viewer, all without the unnecessary disturbing images prevalent in more modern films (read The Cell, Henry: Portrait of A Serial Killer).

Perkin's fine performance, a tight script, and Bernstein's classic score make Psycho a film that is now and will always be remembered as one of the pinnacles of the horror genre.
2000-09-12
My favorite movie...
I think this is one of the best films ever made. It's a true classic. I have seen it over 20 times and I find something new in it every time I see it and it never gets boring. I'm really disappointed that they chose to remake it. But 50 years from now, people will remember the original and not the remake. A lot of people these days will be turned off by the movie because it's old and in black and white, but everyone should see. It's a technical marvel, Hitchcock was a wizard with the camera. There are also terrific performances by Janet Leigh and Anthony Perkins. This movie basically started the whole slasher film genre that John Carpenter kick-started in 1978 with Halloween. In addition to being a great movie, it's also one of the most influential ever made. Look at films like Brian DePalmas's Dressed to Kill and Halloween if you don't believe me.
1998-11-03
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