Alfred Joseph Hitchcock, born August 13, 1899 in Leytonstone, England, was a film technician
who deftly blended sex, suspense and humour, and who justly became known as "The Master of
Suspense". His brilliance in film-making was envied as well as loved and his influence continues
to be felt over many a filmmaker. He used intelligent plots and captivating and memorable scenes
to enable his movies, still, to surprise and enchant silver screen lovers worldwide; and in doing so,
inspired a new generation of film-making - revolutionising the thriller genre.
Hitchcock's most famous films include 'Vertigo' (1959), 'The Birds' and 'Psycho' (1960). 'Psycho',
first screened in New York on the 16th June 1960, was an immediate box office hit, producing
$15 million in its first year after being completed with an expenditure of only $800,000. Famed
for its shower murder sequence and exceptional shot selection and editing, it is an exceedingly
influential and impenetrable psychological thriller with a nightmarish recipe of disturbing
corruptibility, confused identity and voyeurism. Produced and directed by Alfred Hitchcock, it
shocked and amazed audiences all over the world and created a basis for such films as 'Deranged'
(1974), 'The Texas Chainsaw Massacre' (1974) and 'Silence of the Lambs' (1991). In 'Psycho',
Hitchcock manipulates his audience by leading them on a twisting and turning tale creating many
contrasting emotions and responses as the film plays with different themes events and techniques.
Based on a novel by Robert Bloch, 'Psycho' was Hitchcock's 42nd film and followed his
Technicolor hit 'North by North-West' (1959). Robert Bloch's Novel told of a legendary, real-life
killer - Edward Gein - and after Hitchcock had anonymously bought the rights to the novel, he
bought as many copies of the novel as he could 'lay his hands on', so the secret of the shifting
storyline would be kept undisclosed.
With films and shows such as 'The Swiss Family Robinson', 'My Fair Lady' and 'Mary Poppins'
present in the period of the 'Psycho' release, it is clear that 'Psycho' is very disparate to the
expected content of cinema showings at the time. In fact, 'Psycho' broke all but one of the film
regulations of the American 1960's Film Censorship, which all screen plays had to gain approval
of. According to the code, the following provisions applied:
1.The sympathy of the audience should never be thrown to the side of crime, wrong doing or evil -
(this was broken once Marion became the criminal - stealing money - but still was shown to
appear naïve and guiltless, and still the audience is pressed into identifying with her.)
2.Excessive and lustful kissing, lustful embracing, suggestive gestures and postures were
unacceptable - (this was broken in the very first scene when Sam and Marion execute a seedy

was an abnormal request; an abnormal request that transformed the way we see films at cinemas
today. One motivation for this demand was for one, that Janet Leigh - already a 1960's star and the
only 'known' individual in the film - was 'killed off' in the first third of the film. This would have
disappointed late-comers as I'm sure - just like today some (teenage girls in particular) would set
out to see a film just because Brad Pitt, for instance, was starring - people of the time would go to
see 'Psycho' for the reason that one of the biggest sex icons of the time - Janet Leigh - was in it.
Another reason would be that late arrivals wouldn't feel the immense, nerve-tingling effect of the
opening credits. Accompanied with high, A-tonal music without direction, it crafts anxiety and
edginess among the emotions of the audience and forewarns viewers as to what the film will
contain.
The opening credits are in cold black and white which stresses the gothic darkness of the film, and
adds emphasis to the contrast of the stark white lettering against the pitch black background.
Rapid, slicing wipe-editing is added to the credits to generate a 'slashing' motion; this may well
replicate a knife gashing skin (a main ingredient of the storyline). The music is very high-pitched
short, dramatic and jarring to create anxiety and it engages interest - mimicking a nervous heart
beating hurriedly. The split-screen effect suggests themes of the following movie are below the
obvious and superficial. These effects and the non-directional music give the credits a swift pace
which captures the attention of the audience and intrigues them using 'edge of your seat'
techniques.
'Psycho' consists of many effective and dominant scenes using various 'on edge' atmospheres,
non-diatonic or non-directional resonances and shots using darkening shadows to conceal or
emphasise facial emotions, clever props to cunningly develop the storyline and subliminal
messages.
Personally, I feel that the two most powerful scenes are the opening scene - of Marion and Sam's
shameful and sordid lunchtime affair - and the ending scene - the unforgettable eeriness of the
zoom in on Norman when 'Mother's' voice is heard. I think these two scenes are the most
memorable because they seem to be prominent to other scenes and their impact on the plot and
audiences' emotions is immense.
The opening scene begins with a panning shot of the city of Phoenix which then homes in on an
'unplanned' window where voyeurism is apparent as "you never did eat your lunch" is kinkily

is still something that ensues. This reality was in the process of being an acceptance in the
community; Hitchcock was just giving the truth a helping hand to emerge.
In the scene the audience is imposed into sympathising with the character of Marion, learning that
she is independent in her thoughts as she informs Sam that 'it's over'. Furthermore that she is calm
and sensibly outgoing but still has sudden illogical outbursts that make her less of a character and
more of human - something that the audience can relate to. This is the foundation of an ingenious
plan to coerce the audience to believe that when Marion steals the money she's innocent and pure,
when in actual fact Marion's law-breaking character is unmistakably culpable - thieving a huge
amount of money for the time period. Hitchcock, however, appreciates that Marion is on the
wrong side of the law subsequent to stealing the money, so separates the guilty and the guiltless
personalities of the character by nothing other than the underwear worn. To elaborate on this point
- Hitchcock dressed Marion in white (representing purity and virtuousness) underwear prior to her
committing a felony, then in black (representative of guilt and darkness). Very clever, Mr.
Hitchcock!
Once the mystifying storyline has been solved, Norman (or 'Mother' should I say) has been
imprisoned and countless questions are answered, 'Psycho' is ended with a disturbing and
unsettling scene of Norman alone in a shadowy cell when 'Mother' has entirely taken over
Norman's mentality. Norman's guilty conscience pushes him to punish himself for what he has
done and the attraction he felt towards Marion.
In this scene it is silent which creates a more apprehensive atmosphere and an element of
suspense. Also, the lack of music enables the audience to think more for themselves as to what the
theme of the scene is and what will occur to conclude it. Norman's facial expression is very still
and calm; his eyes meet with the camera to create a feeling of discomfort and uneasiness, the stare
also makes him look very ill-omened and creates suspense. He is sporting a blanket which
symbolises that he is burying himself behind it and he has a guilty conscience that he is trying to
hide from others. This blanket could also symbolise that the insignificant element of Norman left
is using the blanket as a barrier to attempt to confine his 'Mother' and not let her expand any
further than she already has.
The scene hears 'Mother' condemning her son and commenting that she would 'never hurt a fly'.
This remark is in reality the truth as 'Mother' is dead and so her killing someone is fairly

unnerve you to the core as it entwines sinister sensations and mystification throughout your mind.
Hitchcock's brilliance in this scene can never be reproduced; however, Hitchcock illustrates his
giant power most effectively in the opening scene when he successfully deceives the audience into
thinking the film has an utterly contrasting topic. This opening scene also demonstrates
Hitchcock's supremacy as this scene created one of the biggest reactions ever, triggering a chorus
of disapproval all over the world and possibly facilitating the film to be as huge as it was (or is).
Hitchcock was a great filmmaker of the thriller genre crafting countless unforgettable movies that
at the time could not be faltered. However, I think that if Hitchcock was around today to witness
the astounding techniques used by current filmmakers, he could learn something new, like, for
example, how to make someone appear to be falling down some stairs more realistically - one of
the more unsuccessful qualities of the film. I think that if 'Psycho' was released now, the public
would dismiss it beyond a shadow of a doubt firstly because it is filmed without colour. Secondly
because there is no amount of gore or a great extent of violence, neither does it have any swearing
to, let's admit it, make the film more 'cool'. Also, Janet Leigh, doesn't, if truth be told, have the
qualities anymore to be the 'girl every man wants'. So, to bring it all together, the supposed thriller
film, today, would be without colour, tame, 'uncool' and 'unsexy'. Not really the film that everyone
will rush to see, is it?
However, Hitchcock, although he may be slightly dated for the present and even his ten tonne
bulldozer wouldn't make a scratch on the vast barricade that present day thriller filmmakers must
conquer before audiences are even vaguely fearful, his colossal dominance over the global public -
an amount that cannot be matched - and his aptitude to fashion a worldwide uproar will be
reminisced for years to come. He was an incredible influence for thousands of filmmakers
throughout the years and his work will continue to be applauded and honoured. He will go down
as one of the greats the world procreated.