![]() ![]() #PSYCHO THEME STEREO MASTER FOUND FULL#That's interesting, too, because we don't really see him doing anything worse than eccentric onscreen until the final act, whereas Stewart's naughtiness is in full view of the audience. However, while Stewart's darkness is treated either very sympathetically (Vertigo), or almost completely harmless (Rear Window), Anthony Perkins's Norman Bates is just an all-around villain. Anthony Perkins comes across as a dark take on Jimmy Stewart's characters in Rear Window and Vertigo: an apparently wholesome individual with dark tendencies. It's really reminds me of film noir, and perhaps exploitation films with its lurid subject matter.ĭespite this differentiation, I feel, however, that this film also represents classic Hitchcock with its Freudian themes (this one being his most explicit) and seemingly wholesome characters with immoral undertones. As far as the mis en scene goes, I feel that the black and white photography sets it apart from Hitchcock's other classics of the time period. It reminds me of Eisenstein for some reason. In cinematic terms, I find it considerably more daring and bold than his other classics, as is evidenced by the editing of, again, the famous shower scene, with a pacing and rhythm that feels comparable to more modern films. Damn shame.Īll that said, it's been a while since I've seen Psycho, but from what I remember, it's definitely quintessential Hitchcock despite being more explicitly horror-oriented than the other iconic pieces of his oeuvre (Rear Window, Vertigo, etc.) I feel like this makes it more immediately memorable, which is likely a reason for its enduring legacy. Everyone knows about the shower scene, and from a modern context, that really compromises enjoyment of the film by taking away the unexpectedness that would leave viewers not in the know constantly on edge throughout the film, since main characters don't tend to die in the first act. #PSYCHO THEME STEREO MASTER FOUND MOVIE#In Psycho however, Hitchcock arguably succeeded in combining all these devices into the character of Norman Bates, a rather shy loner with a very lovely motel.Īs Hitchcock's most well-known film, I feel that this movie suffers from having such a large and iconic reputation. The domineering and incestuous mother appears in Notorious (1946) and Strangers on a Train (1951). A ghostly presence is central to both Rebecca (1940) and Vertigo. As early as The Lodger (1927), he also indulged in placing an innocent character under suspicion of a crime, exemplified in The Wrong Man (1955). His 2 previous films, Vertigo (1958) and North by Northwest (1959), both have characters with multiple identities. Problems with identity are something of a trend with Hitchcock. ![]() ![]() The first portrayals in film came in 1957, with Lizzie and The Three Faces of Eve, the latter winning Joanne Woodward the Academy Award for Best Actress for portraying 3 separate personalities. In fiction however, DID has proven far more popular. To date, no individual has been acquitted by a diagnosis of DID in a legal case. The rareness of DID, the difficulty of diagnosis, and the continued skepticism of the medical community has meant that hard facts and statistics are hard to come by. However, schizophrenia is a breakdown of mental capability, which is not necessarily the case with DID. A great deal of public skepticism surrounded the condition, particularly after the introduction of the schizophrenia diagnosis the 2 diagnoses have subsequently become confused in public perception. Gradually it was observed that many patients had previously suffered traumatic experiences or nervous disorders, which had triggered their conditions. However, with the advent of hypnosis based on concepts pioneered by Franz Mesmer, that idea became seriously challenged when hypnotists started reporting alternate personalities emerging during hypnosis. Dissociative identity disorder (DID) was originally thought to be a variant of somnambulism, or sleepwalking, with patients switching between their normal consciousness and an unconscious state. ![]()
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