Film Analysis: Psycho
Posted in Uncategorized on December 8th, 2010 by dquinlanIn Alfred Hitchcock’s 1960’s horror/thriller “Psycho”, released by Paramount Studios, Hitchcock portrays to us the life and mind of a serial killer. One of the most pivotal scenes in the film is the parlor scene, in which we are first introduced to the protagonist, Norman Bates and it details his first meeting with Marion Crane. Hitchcock presents the scene with very unique camera angles, quick edits and key lighting to set up the overall mysterious tone of the film.
Hitchcock brought horror/thrillers to a new level when “Psycho” was released. And to hype the film up he did a majority of its promotion and barley said anything in regards to the plot of the film. He also set up a rule that no one would be allowed to enter a screening of “Psycho” once the film at had begun to screen.
The parlor scene ultimately sets up the mysterious tone of the film. As Norman invites the only guest at the motel, Marion Bates, to have dinner with him in the back of the parlor, the mystery of who Norman Bates is begins. The parlor is filled with many stuffed birds, which hanging on the wall and made to look like the birds are still flying. There is also only one light in the parlor, and it is known as a Tiffany lamp, and it is a main component of the scene. It is a very creepy setting that fits perfectly with the rest of the film.
The scene begins with Marion and Norman entering the room and sitting down. Marion has accepted to have dinner with Norman and he has prepared a sandwich for her. Marion has taken a seat on the couch, with the lamp right next to her, and Norman has taken a seat in the corner and is surrounded by his stuffed birds. The birds seems very haunting and disturbing to the viewers as they hover over Norman. The birds also offer us a quick insight into Norman Bates, as he tells Marion “he likes to stuff things”, and we begin to question this character.
We take notice of the lighting in the scene right away as well, as Norman’s face is half lit and we get a clear look of his shadow. Right away this sets up a sort of mystery to the character of Norman Bates. This could also be seen as foreshadowing in the film, and was a great way face is fully lit because she is next to the light and of portraying Norman’s duel personalities (himself and the mother and a man and a child). And Marion’s portrays the innocent guest of the motel and her essential goodness as she has told herself she is going to return the money she had stolen.
The camera angles Hitchcock chose set up the dark and mysterious tone seen throughout the film. For Marion he gave us an eye level view of her, and lets the audience see her as two people might see each other while sitting and talking. But Norman is placed in the corner of the room, sitting on a small chair. As they chat, the camera quickly switches back and forth between them. While Marion’s angle stays the same, for Norman’s the audience is placed on his left hand side, which is an odd angle to see for two people having a conversation. Being on the left side of Norman offers us a very unbalanced look at him. With is being unbalanced it could lead us to believe that Norman’s world is a little bit off. With him being surrounded by the stuffed birds and the awkward moments between him and Marion, the scene can lead us to speculate that Norman is the murderer and Marion could be his next victim.
Throughout the film we are presented with special camera angles, key lighting and mise-en-scene which produce this dark, ominous and mysterious world of Norman Bates. Hitchcock shows us many times throughout the film these dual personalities that Norman is challenged with. And the parlor scene is a key element to the overall feel of the film and how certain aspects of people we first meet can throw us off and leave us wondering who they really are.