Psycho Series (1960–Present)

Psycho Series & Related Films & Shows (1960–Present)

In the mid 1950’s writer Robert Bloch (pronounced: “Block”) wrote a short story titled Your’s Truly, Jack The Ripper. The premise of the story was that Jack The Ripper survived the end of his murder spree in 1888 and resurfaced in America in the 1950’s only to kill again. In the late 1950’s Bloch, influenced / inspired by the killer Ed Gein, wrote a novel titled: Psycho. The story consisted of a 40 – something year old man who did intimate acts on himself while spying on women staying at the motel he ran, before killing them. The man’s name was Norman Bates. Almost as soon as the book was published, producer and director Alfred Hitchcock bought the film rights for $9,000 in an anonymous bid and subsequently bought as many of the books out of circulation has he could so as to not spoil the ending. Hitchcock went into production in 1959 for a 1960 release of his film Psycho (1960).

While much of the story remained intact, the more seedy elements were removed due to film censorship of the day. Years later the film would go through various ratings leading up to and landing finally on its current R rating in 1984. The studios involved with the production were dubious as to how well the film would do and therefore gave Hitchcock little money with which to make his film. They also gave him over 50% of the box office profits, thinking the film wouldn’t do that well. When the film became a sleeper it, Hitch amassed a small fortune. The film has since gone on to be hailed as one of the best films of all times generally speaking and specifically in the Horror and Thriller genres.

After Alfred Hitchcock’s death in 1980, Robert Bloch went back to the Psycho well and wrote 3 sequels. Subsequently these novels were turned into films starring Anthony Perkins as Norman Bates, reprising the role he made famous in Hitchcock’s Psycho. The films were made from 1983–1990. Two were theatrical and the final one was made for cable television. Robert Bloch then returned in 1984 to the Jack The Ripper story and wrote the novel: The Night Of The Ripper. While it is noteworthy to this reviewer that Bloch toggled between two knife–wielding killers, the general public remembers him best for his Psycho writings.

A failed television show pilot from 1987 titled Bates Motel (1987) now rests on DVD as a television movie in the franchise. It would, in story anyway, follow the three Perkins sequels. In the late 1990’s there was talk of: “Who would dare make a remake of Psycho (1960)?” Fortunately people didn’t have much time to speculate since director Gus Van Sant viewed it as a challenge and took it upon himself to remake Psycho. Unfortunately for him, despite updating the story and having more freedom content wise as to what was allowed in the film censorship wise, he decided to make a shot by shot remake of Hitchcock’s classic.

The general public and film critics did not take kindly to this film. It was notoriously panned as a BOMB while the original is notoriously hailed as a classic. No one dared to touch the Psycho properties for a while after that. In 2012 Anthony Hopkins played Alfred Hitchcock and Helen Mirren played his wife Alma in the film: Hitchcock (2012). It was a satirical look at the making of the film and the strong bond between Hitch and his wife. It was highly sanitized though given the plethora of information available about how nasty and crude Hitchcock could be. That film is reviewed elsewhere. See the review for more details on that film.

A successful television show was made titled: Bates Motel (2013–2017). The show took place in then present day but had clothing styles, cars, and sets that looked straight out of 1959. The series starred Vera Farmiga as Norma Bates and Freddie Highmore as Norman Bates. The show chronicled the teen Norman Bates and how he became the notorious killer depicted in Psycho (1960). Concurrently with the final season of the show there was a documentary film released titled: 78/52: Hitchcock’s Shower Scene (2017). It was a in depth look at the making of that infamous scene from the 1960 film. With the exception of Hitchcock (2012), all the aforementioned shows and films have been reviewed below. They are divided into the category in which they properly fit. Enjoy…    

The Films:

Psycho (1960)

B&W – 109m
Aspect Ratio: 1.85:1 – Widescreen
A.K.A.: Alfred Hitchcock’s Psycho, Production 9401, Psychosis, Wimpy
Novel: Psycho by Robert Bloch
Screenplay By: Joseph Stefano
Prod. (uncredited) – Dir.: Sir Alfred Hitchcock
Starring: Anthony Perkins, Vera Miles, John Gavin, Janet Leigh, Martin Balsam, John McIntire, Simon Oakland, Frank Albertson, Patricia Hitchcock (as Pat Hitchcock), Lurene Tuttle, John Anderson, Mort Mills, Francis De Sales (uncredited), Virginia Gregg (uncredited), Sir Alfred Hitchcock (uncredited), Ted Knight (uncredited), Jeanette Nolan (uncredited), Robert Osborne (uncredited) and Helen Wallace (uncredited).
Music By: Bernard Herrmann

A Phoenix secretary embezzles $40,000.00 from her employer’s client, goes on the run, checks into a remote hotel run by a young man under the domination of his mother. A truly horrifying picture for anyone seeing it for the first time who doesn’t know anything about the film. After that it is a well–done thriller that still has shock to it even decades after it was made and released. The acting is superb, script is nice and tight, the pacing is perfect and the story does have genuine shock value to it. Particularly when one reads the story of the real life killer the novels were based on and subsequently reads the novels and sees the films and shows. In short, this is a well – orchestrated film, in every sense of the phrase. Dig Bernard Herrmann’s haunting and jolting score – particularly in the Shower Scene, which made this film notorious!

Trivia:

In this film, director Alfred Hitchcock wanted to do a pan / zoom over the entirety of Marion Crane’s hotel room, as the first shot of the film. The technology was not yet capable of such a shot so Hitch did it with pans and dissolves. In the 1998 remake, director Gus Van Sant was able to achieve the shot Hitchcock wanted because the technology had advanced many years between the films. This film was shot in six weeks, as was the 1998 remake. Alfred Hitchcock was initially disappointed with the final cut of the film. He believed it would be on a double bill at a Drive–In Theatre. According to Bernard Herrmann Hitchcock even considered editing it down for broadcast on his television show: Alfred Hitchcock Presents (1955–1962).  Hitchcock did on conceive of the idea of music for the Shower Scene. Bernard Herrmann did however and wrote the score. Also according to Herrmann, he brought back the title sequence music to the scene where Marion Crane drives away after taking the money. He said that the scene didn’t work until he did so. Hitch was so happy with the score by Bernard Herrmann that he doubled Herrmann’s salary to: $34,501.00. Hitch later said, “33% of the effect of Psycho was due to the music.”

Sir Alfred Hitchcock would only call Anthony Perkins, “Master Bates,” on the set of this film (one of the director’s many double entendres). On the first day of work Hitchcock made the cast and crew raise their right hands and swear not to reveal any part of the plot to anyone. Hitchcock also withheld the end of the script from the actors until he actually had to shoot it. Alfred Hitchcock bought the film rights to the novel from Robert Bloch anonymously for $9,000.00 in U.S. dollars. He then bought up as many copies of the novel as he could to keep the ending a secret. Walt Disney refused to allow Hitchcock to film at Disneyland because he made, “that disgusting movie Psycho.” Hitchcock wanted to make this film so badly that he deferred his standard salary of $250,000 in lieu of 60% of the profits of the film. Paramount gave Hitchcock a very small budget to work with, because of their distaste for the source material. They also deferred most of the net profits over to Hitchcock because they thought it would be a flop. When the film became a sleeper hit, Hitchcock made a small fortune. His personal earning from the film exceeded $15 million. Adjusted for inflation, that would be just over $120 million in 2016 dollars. Incidentally, this was Hitch’s final film for Paramount Studios. It was also Hitch’s final film in Black And White. This was even Hitch’s final time being Oscar® nominated for Best Director. He was nominated a total of five times but never won. He did however get an honorary Oscar® and an AFI Life Achievement Award.

Every theatre that showed this film had a cardboard cutout of Hitch pointing at his watch installed in the lobby. The cutout said, “The manager of this theatre has been instructed at the risk of his life, not to admit to the theatre, any persons after the picture starts. Any spurious attempts to enter by the side doors, fire escapes or ventilation shaft will be met with force. The entire object of this extraordinary policy, of course, is to help you enjoy PSYCHO that much more. Alfred Hitchcock.”  Some theatres also had a record player installed with a special record that would play music and sporadically announce the countdown times to a Psycho screening. This was to further emphasize the point that no one was allowed in after the start of the film. Additionally, the theatres were told to lock the doors to the screening rooms when Psycho was playing so that no one would come in after show times.

In the opening of the film Marion Crane is shown in a white bra to symbolize “angelic”. After she steals the money, her bra is black because she did something sinful. The same color scheming goes for her purse in before and after the crime. This was the first American film to SHOW a toilet flushing. The first film that a toilet is HEARD flushing was: Frankenstein 1970 (1958). Joseph Stefano was adamant that the toilet had to flush on screen. Hitchcock told him if he wanted to see it, he had to make it so on paper. This caused Stefano to add the scene of Marion Crane adding up the money on paper and then flushing it down the toilet, thus making it impossible for the scene to be nixed by the censors. For the shot of the showerhead looking up at the water stream, Hitchcock had a six–foot diameter showerhead made and blocked the central jets so that the water sprayed in a cone past the lens of the camera, without spraying water directly at it.

Janet Leigh received threatening letters, which detailed what people wanted to do to Marion Crane. One was so bad that she contacted the FBI with it. The culprit behind that letter was caught. The FBI further informed Janet Leigh that, should she get more letters of that ilk, she should contact them immediately. The official trailer for this film ran over 6 minutes and 30 seconds in 1960, a feat unheard of in today’s film world. There was even a mandate installed in the 2010’s to keep film trailers 2 minutes 30 seconds or less.

The real life killer who inspired the novel, Ed Gein, also inspired: Deranged: Confessions Of A Necrophile (1974), The Texas Chain Saw Massacre (1974), and its sequels and prequels, and The Silence Of The Lambs (1991). According to Janet Leigh, the wardrobe she had as Marion Crane was purchased “off the rack” in regular stores rather than made for her, thus adding to the “realism” of the film. Filming of the famous Shower Scene took about two weeks. Janet Leigh said she never showered again after making this film; she only took baths. Leigh’s daughter Jamie Le Curtis went on to be in a knife wielding film franchise – Halloween (1978–Present). Alfred Hitchcock produced this film after his plans for making No Bale For The Judge, starring Audrey Hepburn fell through.

In the shower scene there is someone dressed as Mother Bates but it was never Anthony Perkins. It was a different man every day for two weeks while the scene was shot. (Spoilers!) Anthony Perkins only had the dress on during the finale climax. It was later reported that Anthony Perkins had two shower scenes in 1960: the one in this film and the one he did with Jane Fonda in her film debut, Tall Story (1960). Due to the technicality of Perkins not being present during this film’s shower scene while it was being shot, one can argue the point that he only had one shower scene. 

For years after making this film Anthony Perkins refused to talk about it or his character because people only knew him as his character in this film – reference wise. He did talk about it in the early 1990’s, shortly before his death. There is video of it, though the video is in rough shape it does give some idea of his feelings on the character and how Hitchcock instructed him to play the part. It can be found in a few documentaries and on YouTube.com for those who are interested. Alfred Hitchcock had a prop torso made up that would shoot blood out of it when it was stabbed with a knife but didn’t use it. He used Hershey’s Chocolate Syrup for the blood since he thought it showed up better than the typical makeup blood mixture on camera.

The scene where Martin Balsam, as Detective Milton Arbogast, has his career–ending, run–in with Mrs. Bates that has him going down the stairs backwards was done with him sitting in front of a screening waving his arms and making a face while rear projection of the stairs was played behind him. When the film was played back, it looked as if he had gone down the stairs himself. The story of the torso and the aforementioned scene was revealed on: The Dick Cavett Show (1968–1974), by Alfred Hitchcock himself in 1972. In his interviews on Cavett’s show, he appears impish with his humor. A stark contrast to the tyrant he was reported to be my actors and actresses, starting most famously with Tippi Hedren. Anthony Perkins and Janet Leigh were allowed to improvise parts of their roles, such as Norman Bates habit of eating candy corn.

As part of a publicity campaign prior to the film Hitchcock said, “It has been rumored that Psycho is so terrifying that it will scare some people speechless. Some of my men hopefully took their wives to a screening. The women emerged badly shaken but still vigorously vocal.” This is considered by many to be Alfred Hitchcock’s first horror film. This film cost $800,000.00 in U.S. dollars to make and earned $40 million U.S. dollars. This was the highest grossing film of Hitchcock’s career. Some biographers have said that Hitchcock’s own issues with his mother influenced him to make this film, though his issues were not as disturbing as the ones in this film. Further, it is reported that screenwriter Joseph Stefano was dealing with his mother issues in therapy as he wrote the script for this film. A scene of Marion Crane removing her black bra before her shower was cut from U.S. prints of the film for censorship reasons. It did however remain intact in the U.K. release of the film.

Anthony Perkins was paid $40,000.00 for his role as Norman Bates, the exact amount that Marion Crane, played by Janet Leigh in this film, embezzles. In 1992, this film was selected for preservation in The Library Of Congress. Over the years this film has been rated and rerated. First it was released with no rating, then it was rated PG, then PG–13, and finally R – rated. The R rating was given to this film in 1984. The shower scene, which runs a mere 45 seconds and is comprised of 78 shots, with 52 camera setups became the subject of the documentary: 78/52: Hitchcock’s Shower Scene (2017). Alfred Hitchcock lamented for the rest of his life that this film was meant as a joke in his eyes and that no one but him thought it was funny.

Vera Miles wore a wig for her role in this film, as she had her head shaved for her role in: 5 Branded Women (1960). In the novel it was explained that Marion and Sam met on a cruise and fell in love. This explained why it was a long distance relationship between them, with Marion in Phoenix and Sam in Fairvale. The novel Psycho by Robert Bloch was originally part of an anthology of novels published in conjunction with the popular and spooky radio show: “Inner Sanctum”. Kim Stanley was reportedly offered the role of Lila but turned it down citing personal reservations about working with Anthony Perkins.

This film was originally set to air on television in the fall of 1966. Shortly before it was to air, the daughter of then U.S. Senate candidate Charles H. Percy (U.S. Senate – Republican, Illinois 1967–1985), was stabbed to death by an intruder. As of 2011, the murder was still unsolved. Due to the murder, this film was not shown on U.S. network television until 1970, after a hugely successful theatrical re–release the previous year. In a grisly and ironic twist of fate, Janet Leigh’s body double for this film was found raped and murdered at the age of 71 in 1988. Her murderer was arrested and charged just days after this film’s remake premiered. A book has been written about the case titled: The Girl In Alfred Hitchcock’s Shower by Robert Graysmith.

In an early draft of the script for this film: In Mr. Lowery's office the following exchange is heard:

CASSIDY (to Marion): You should take a vacation in Las Vegas, playground of the world!
MARION: Thank you, but I think I'll spend this weekend in bed. CASSIDY: “Only playground to beat Las Vegas.”

The last sentence was in the script but Hitch had to cut it due to the censors. Gus Van Sant used it in his remake of this film since Hitch had intended to use it.

The Psychiatrist Explanation Scene at the end of the film was the most panned part of this film by Hitchcock, critics and Hitch’s fans. Three women recorded the dialogue of Norma Bates. Hitchcock mixed them together until he found the right tone of voice for each scene. Alfred Hitchcock preferred working on sound stages rather than outdoors. As such, most of the work of the actors outside the house and motel were done in studio. The exterior of the Bates house and motel were mixed in with the footage of the actors. If one looks closely it can be discerned which footage is which by looking at the lighting. Two cameras were usually used in the shooting of this film to avoid having to reset everything up for multiple angles. While this was not uncommon for a television show production, it was certainly a rarity at the time in filmmaking. The A.K.A. title: Wimpy was in reference to second unit cameraman Rex Wimpy.

Eva Marie Saint, Lee Remick, Angie Dickinson, Piper Laurie, Martha Hyer, Hope Lange, Shirley Jones and Lana Turner were all considered for the role of Marion Crane. Angie Dickinson went on to star in a film that was heavily influenced by this film: Brian De Palma’s Dressed To Kill (1980). There were false reports that actor George Reeves was hired for the role of Detective Milton Arbogast. The facts around the timing of his death, and the timing of the start of production on this film prove them false. For more information of George Reeves’ untimely death see Hollywoodland (2006). James P. Cavanagh was the first to adapt Robert Bloch’s novel into script form. His script was jettisoned in favor of Joseph Stefano’s script however.

The camera used to shoot Norman’s perspective as he watched Marion Crane undress through the peephole required a circular mask on the lens. Alfred Hitchcock wanted Sam Whitman, Tom Tryon, Brian Keith, Cliff Robertson, or Rod Taylor for the role of Sam Loomis but Universal insisted on John Gavin. Reflections are often used to imply Schizophrenia, but everyone in this movie except Norman Bates is shown in a mirror. Anthony Perkins, Vera Miles and Virginia Gregg all reprised their roles in: Psycho II (1983). Janet Leigh is shown in a flashback at the beginning of Psycho II (1983), but is not considered to have reprised her role, as it was stock footage. This was Janet Leigh’s only Oscar® nominated performance. Ted Knight (A.K.A.: Ted Baxter) made an appearance in this film as one of the guards at the end of the film. He opened the door so they could bring Norman a blanket in his cell. 

Oscar® nominated for: Best Supporting Actress – Janet Leigh, Best Director – Sir Alfred Hitchcock, Best Black And White Cinematography, and Best Black And White Art Direction – Set Decoration.

Followed by: Psycho II (1983), Psycho III (1986), a failed television show pilot that now stands as a movie: Bates Motel (1987), Psycho IV: The Beginning (1990), and the television show Bates Motel (2012–2017). Remade as: Psycho (1998).            

Rated: [R]
Out Of Print on VHS & Laserdisc but Available on Blu–ray, DVD & Digital Copy 

Psycho II (1983)

C – 113m
Aspect Ratio: 1.85:1 – Widescreen
Characters By: Robert Bloch
Screenplay By: Tom Holland
Exec. Prod.: Bernard Schwartz
Prod.: Hilton A. Green
Dir.: Richard Franklin
Starring: Anthony Perkins, Vera Miles, Meg Tilly, Robert Loggia, Dennis Franz, Hugh Gillin, Jill Carroll, Tom Holland, Lee Garlington, Oz Perkins (as Osgood Perkins) and Virginia Gregg (voice only, uncredited).
Music By: Jerry Goldsmith

After 22 years of psychiatric care, Norman Bates attempts to return to a life of solitude, but the specters of his crimes – and his mother – continue to haunt him. Funny to think at some point someone would have been considered psycho to try and make a sequel to: Psycho (1960), pardon the redundancy of that statement. Fortunately for that psycho this Psycho sequel is quite well done. Anthony Perkins, Vera Miles, Virginia Gregg and Meg Tilly turn in powerhouse performances. Props should also be given to Tom Holland for coming up with such a Hitchcock worthy script. Sadly the third act of the film is a bit wobbly but when the first two acts work, and the conclusion of the film works, why quibble? Naturally, nothing will live up to the original film but this was a worthy sequel. Don’t hesitate to see it.

Trivia:

Producer Hilton A. Green suggested Jamie Lee Curtis for the role of Mary Loomis, as she was the daughter of Janet Leigh and had success with: Halloween (1978). When Mary and Norman go into Norman’s mother’s room, before they turn the lights on, Alfred Hitchcock’s silhouette can be seen on the wall to the far right. Meg Tilly was never allowed to watch television when she was growing up and thus never saw Psycho (1960). Not understanding the significant stature of the film, she asked someone on set, “Why is Tony getting all the attention?” Anthony Perkins heard this and was upset; he didn’t talk to her during filming and even suggested that she be fired in spite of the fact that over half of her scenes had already been filmed. Meg Tilly went on to say that this film was her worst working experience because Anthony Perkins and director Richard Franklin were difficult to work with. The reflection of a young Norman Bates in the doorknob, when he flashes back to his mother’s poisoning, was Anthony Perkins’ son Oz Perkins (Osgood Perkins).

The way Norman Bates says, “cutlery,” in the scene in the kitchen, was conceived during a table read of the script. When Anthony Perkins said the word he stuttered during the table read. Director Richard Franklin liked it and instructed him to say it like that when the film was being shot. The original house set was used and the motel set was reconstructed. The original showerhead was going to be used in this film but someone stole it before filming commenced. When Anthony Perkins was ambivalent about this film and leaning towards not reprising his role, a rumor circulated that Christopher Walken would step into the role and that this would be a television movie event. Perkins did however decided to do the film. On the commentary track for this film, screenwriter Tom Holland was asked if he could confirm that rumor about Walken as Norman Bates. Holland said he could neither confirm nor deny the rumor and quickly changed the subject. Quentin Tarantino said that this was one of his favorite films and that he preferred it to: Psycho (1960).

The scene in Norman’s childhood bedroom where Mary comforts Norman on the bed, was added by Tom Holland at the request of Anthony Perkins. Perkins felt Norman needed a touching scene with the character of Mary Loomis. Composer Jerry Goldsmith gave Anthony Perkins a cassette tape of the opening title theme. Reportedly he was so touched while listening to it that he started to cry. Writer Robert Bloch published the novel "Psycho II" in 1982. The plot of the book is very different than the feature film. It has Norman Bates escaping from the mental institution and traveling to Hollywood, California to stop the production of a film based on his life. Universal Studios was reportedly upset by Bloch's take on the horror film industry and this lead to the development of this 1983 film sequel.

Meg Tilly’s character’s name in this film was Mary Samuels, a reference to: Psycho (1960). In the original film Marion Crane signs her name Marie Samuels in the Bates Motel Guest Ledger. The novel Psycho by Robert Bloch had Marion’s name as: “Mary”. Richard Franklin was selected to direct this film because of a film he made titled: Road Games (1981), which was considered to be influenced by another famous Hitchcock film: Rear Window (1954). It didn’t hurt either that Franklin was a Hitchcock student, hosting a discussion / retrospective during his first semester at University Of Southern California (U.S.C.). Further, Franklin even visited Hitchcock on the set of his film: Topaz (1969). Lee Garlington, who played Myrna in this film, also produced the handwriting shown in “Mother’s” notes. In the original screenplay, there was dialogue between Mary and Dr. Raymond when he drives her to work, but it was cut from the film. This film made over $34 million in the worldwide box office and was shot in just 32 days.

Anthony Perkins, Vera Miles, and Virginia Gregg reprise their roles from: Psycho (1960). Richard Franklin was so keen on having Jerry Goldsmith compose the music for this film that he turned down Universal Studios’ offer for the use of the Bernard Herrmann music cues from the original film and even Herrmann’s unused work for: Torn Curtin (1966). John Williams was originally suggested to compose the music for this film. The character of Sam Loomis from the original film was written out of this one since actor John Gavin, who played the role in 1960, was then currently serving as the American Ambassador to Mexico. It took screenwriter Tom Holland 6 months to complete the screenplay. Sheriff Hunt was originally named Sheriff Chambers and Dr. Raymond was originally named Dr. William Richmond in the script. They were both from the original film but their names were changed at the last minute. The producer’s name is Barnard Schwartz, Bernard Herschel Schwartz, better known as Tony Curtis, is of no relation to this film’s producer. He was however married to Janet Leigh, Marion Crane in: Psycho (1960), and was the father of Jamie Lee Curtis, from: Halloween (1978). Janet Leigh did appear in both Psycho II (1983), this film, and Psycho III (1986), only through stock footage from Psycho (1960) though. 

Followed by: Psycho III (1986), Bates Motel (1987), Psycho IV: The Beginning (1990), Psycho (1998) and Bates Motel (2013–2017).

Rated: [R]
Out Of Print on VHS & Laserdisc but Available on Blu–ray, DVD & Digital Copy

Psycho III (1986)

C – 93m
Aspect Ratio: 1.85:1 – Widescreen
Characters By: Robert Bloch
Screenplay By: Charles Edward Pogue
Prod.: Hilton A. Green
Assoc. Prod.: Don Zepfel
Dir.: Anthony Perkins
Starring: Anthony Perkins, Diana Scarwid, Jeff Fahey, Roberta Maxwell, Hugh Gillin, Lee Garlington, Robert Alan Browne, Gary Bayer, Patience Cleveland, Katt Shea, Juliette Cummins and Virginia Gregg (voice only, uncredited).
Cinematography By: Bruce Surtees

Norman Bates falls in love with a fallen nun who stays at the Bates Motel along side a drifter and a curious reporter. Meanwhile, “Mother” is still watching. A valiant effort by Anthony Perkins and company to keep Norman Bates alive… Sadly this film falls short of the previous entry’s success and feels mildly forced. Perkins gets props from this reviewer for getting good performances out of himself and the other actors as the director of this film though! Worth a look but nothing special.

Trivia:

This was Anthony Perkins’ directorial debut. Actress Juliette Cummins was nearly fired by director – actor Anthony Perkins after making an unintentional joke about his homosexuality. In an interview with American Movie Classics shortly before his death, Anthony Perkins admitted that he felt he wasn’t up to the task of directing this film, feeling that his technical knowledge was too limited. During the filming of this film, Anthony Perkins was diagnosed as H.I.V.–positive when he went into a clinic for a routine medical examination. Mary Loomis’ book from Psycho II (1983), The Belly Of The Beast, is seen lying in the dirt by Norman’s house. Anthony Perkins originally suggested that this film be shot in Black & White as a homage to the 1960 Alfred Hitchcock classic, but Universal opposed it.

This was the lowest grossing entry in the Psycho series, with just $14,481,606.00 in worldwide box office returns. The famous opening line, “There is no God!” was improvised by actress Diana Scarwid on the set. Brinke Stevens performed Diana Scarwid’s bare bottom nude scene. Actress Diana Scarwid fondly remembered Anthony Perkins as loving, sensitive and caring. Anthony Perkins originally wanted to use a stuntwoman for the scene where Duane throws Red out of the motel room. Juliette Cummings talked him out of it and performed her own stunt. Actress Katt Shea got her part of Patsy because she read her lines to a bush outside at the audition. Anthony Perkins’ main inspiration for the style of this film came from the film: Blood Simple (1984), the Coen Brothers’ film. Before production began on this film, he took the entire cast and crew to a screening of the film.

When the film went into Pre–Production, Anthony Perkins asked Psycho II (1983) director Richard Franklin to co–direct the film with him, though Franklin declined. Director Of Photography (D.P. / DP) Bruce Surtees quizzed Anthony Perkins on the blockings of scenes and what lenses to use. He was surprised to find that Perkins knew the answers to all the questions, and never questioned him again. It was Anthony Perkins’ idea for the unique transitions in the film, like the light under the door that is actually a knife, and the scene were Norman leaves the hospital, and closes the door and finds himself in “Mother’s” room. After the completion of the film, Universal Studios felt that it needed a better ending, one with a twist, so Anthony Perkins was called back to shoot the final scene. Screenwriter Charles Edward Pogue claimed that Anthony Perkins would get so many off–beat ideas for the film that Perkins would call him late at night to pitch them.

This film takes place in 1982, one month after the events of Psycho II (1983). Director – actor Anthony Perkins originally wanted Jeff Fahey completely nude in the foreplay scene between Duke and Red. Jeff Fahey felt too uncomfortable though and was allowed to hold two lamps to partially cover himself with. Producer Hilton A. Green cited this as his least favorite entry in the series due to the excessive graphic violence and nudity. The reporter Tracy Venable was supposed to be younger but when Roberta Maxwell was cast, the character became older. Anthony Perkins and Virginia Gregg were the only two actors to reprise their roles from: Psycho (1960). Hugh Gillin, Robert Alan Browne and Lee Garlington were the only actors in addition to Perkins and Gregg to reprise their roles from Psycho II (1983). Once again, Janet Leigh appears in this film in stock footage from Psycho (1960).

During the opening shots of the Bates house, it shows the cellar window from the second film with fingerprints on the glass. It is a nod to the boy who was murdered. After production wrapped, Anthony Perkins and screenwriter Charles Edward Pogue were asked to pitch an idea for Psycho IV. After the poor box office performance of this film, the idea of a 4th theatrical film was shelved. In 1988 the idea was dusted off as a made for television film. That one was penned by the original screenwriter Joseph Stefano.

Followed By: Bates Motel (1987), Psycho IV: The Beginning (1990), Psycho (1998) and the television series Bates Motel (2013–2017).    

Rated: [R]
Out Of Print on VHS & Laserdisc but Available on Blu–ray, DVD & Digital Copy

 

Psycho IV: The Beginning (1990) 

C – 96m
Aspect Ratio: 1.33:1 – Fullscreen (original broadcast Aspect Ratio) / 1.78:1 – Widescreen (Blu–ray, DVD & Digital Copy Aspect Ratio)
Based On The Characters Created By: Robert Bloch
Screenplay By: Joseph Stefano
Exec. Prod.: Hilton A. Green
Co–Prod.: Alan Duncan Ross
Dir.: Mick Garris
Starring: Anthony Perkins, Henry Thomas, Olivia Hussey, CHH Pounder, Warren Frost, Donna Mitchell, John Landis, Alice Hirson (voice only), Ryan Finnegan (as Ryan Finnigan), Peggy O’Neal and Bob Barnes.

Norman Bates recalls his childhood with his abusive mother while fearing his unborn child will inherit his split personality disorder. A strange and incestuous finale to the Anthony Perkins Psycho series, finds Perkins in good form as an actor. The story is interesting but never thrilling. The cinematography is a tad soft given the crispness of the rest of the series, but there are a few visually captivating moments in spite of it. Recommended as a solid finish to the series.  

Trivia

When Anthony Perkins saw the first screening of this film, he called it the best out of all the Psycho sequels. Anthony Perkins and Psycho III (1986) screenwriter Charles Edward Pogue originally pitched and idea for Psycho IV that had the Bates Motel and House turned into a tourist attraction for horror weekends. From there Norman escapes the mental institution with a mute patient and the actor who was set to play Norman Bates for the weekend quits and Norman returns home to be hired to play himself. Pogue claimed that the idea was meant to be a black comedy but Universal opposed the idea. Director Mick Garris called Anthony Perkins the most difficult actor he ever worked with. When shooting the first murder scene, Henry Thomas got so involved in the stabbing that part of the knife went into his hand, causing nerve damage. He had the scar from that point forward in his life.

When Norman Bates first called into the radio show, he said his name was Ed. Psycho books author Robert Bloch modeled Norman Bates after real life serial killer and cannibal, Ed Gein. Gein was also the basis for The Texas Chain Saw Massacre series (1974–Present). When Janet Leigh did her intro for the television broadcast of this film, she stated that multiple endings were shot. Director Mick Garris said subsequently that only one ending was shot and that the claim of multiple endings was a publicity stunt by Universal Studios. When screenwriter Joseph Stefano, screenwriter of Psycho (1960) and this film, ignored the Mrs. Spool story arch from Psycho II (1983) and Psycho III (1986), preferring to and actual did use the original film as a source. Olivia Hussey did not audition for her role but was asked if she was interested and she said.  

This was the only Psycho sequel to use Bernard Herrmann’s score from: Psycho (1960). During Pre–Production, the idea of having Norman’s flashbacks being in black and white, as homage to the classic film, was talked about but ultimately was nixed. The bed in Norma Bates’ room in this film is the same bed used in the 1960 classic film. Anthony Perkins improvised the scene where Norman Bates rips an apple in half. The script called for Norman to slam a butcher’s knife into the apple, but Perkins thought it was too corny and went for ripping the apple. This film was shot in 24 days. The house and motel used in this film were built in 1988 on the Backlot of Universal Studios in Florida. It remained there until 1998 when it was torn down.

Rumors spread about a Psych V after this film aired on Showtime, the television network. None came to pass. In 1998 Gus Van Sant put out a frame–by–frame remake of the original film. This was the only Psycho sequel to not feature footage from the shower scene in: Psycho (1960). This was reportedly the first film to be filmed at Universal Studios in Florida. This was the first Psycho film not to have Virginia Gregg providing the voice of Norma Bates. Gregg died on September 15, 1986 at the age of 70. During the filming of this movie, Anthony Perkins continued to get treatment for HIV.      

Rated: [R] – Violence & Sensuality
Out Of Print on VHS & Laserdisc but Available on Blu–ray, DVD & Digital Copy

Psycho (1998)

C – 105m
Aspect Ratio: 1.85:1 – Widescreen
A.K.A.: Gus Van Sant’s Psycho, Psychosis
Novel: Psycho by Robert Bloch
Screenplay By: Joseph Stefano
Prod. – Dir.: Gus Van Sant
Starring: Vince Vaughn, Anne Heche, Julianne Moore, Viggo Mortensen, William H. Macy, Robert Forster, Philip Baker Hall, Chad Everett, Rance Howard, Rita Wilson, James Remar, James Le Gros, Flea, Marjorie Lovett, Ryan Cutrona, Ken Jenkins, Roy Brocksmith, Rose Marie (voice only, uncredited) and Gus Van Sant (uncredited).
Music By: Bernard Herrmann, Danny Elfman and Steve Bartek

A young female embezzler arrives at the Bates Motel, which has terrible secrets of its own. One of the best things about Alfred Hitchcock’s Psycho (1960) was that it was original and horrifying. And who, up to that point, would dare to kill off the leading lady so soon in the film? Hitchcock, that’s who! So why then, after four sequels (one of which was a failed television show pilot), would there be a reason to do an almost frame–by–frame remake of the classic Hitchcock film? Why would someone willingly remake a classic film frame–by–frame and expect to come out of the project unscathed? These are some of the questions that educated viewers may have. Leaving aside the novelty of seeing a color version with then current actors, this film doesn’t have much to recommend it. The film isn’t a total turkey but it isn’t far off either. The cast does their best with tried and true material, but director Gus Van Sant’s heavy–handed approach to the material makes it drearily slow and flat. A shame given the cast… This film is mesmerizing the same way watching a trainwreck is. One knows it is bad but one can’t quite bring them selves to tear one’s eyes away from it.

Trivia:

Scriptwriter Joseph Stefano felt that Anne Heche played the role of Marion Crane completely differently than Janet Leigh, despite using the exact same lines. In his film Psycho (1960), director Alfred Hitchcock wanted to do a pan / zoom over the entirety of Marion Crane’s hotel room, as the first shot of the film. The technology was not yet capable of such a shot so Hitch did it with pans and dissolves. In this version Gus Van Sant was able to achieve the shot Hitchcock wanted because the technology had advanced many years between the films. When Gus Van Sant was asked why he made a color shot–by–shot remake of Psycho (1960), he said, “So no one else would have to. Gus Van Sant brought a DVD copy of the original film to the set to use as a guide for his remake. When he spotted an error of a door opening without a key, he decided to put that in the remake too.

In the original film Marion Crane embezzled $40,000.00. This was upped to $400,000.00 for this remake. This film was critically panned. In spite of that, Pat Hitchcock, Hitch’s daughter, gave this film her blessing stating that a shot for shot remake of one of Hitch’s films is what her father would have done to his own work. This appears to have flown in the face of the fact that Hitch’s original The Man Who Knew Too Much (1934) was nothing like Hitch’s own remake, The Man Who Knew Too Much (1956). This remake was shot in 6 weeks, just as the original was. In a grisly and ironic twist of fate, Janet Leigh’s body double for the original film was found raped and murdered at the age of 71 in 1988. Her murderer was arrested and charged just days after this film’s premiere. A book has been written about the case titled: The Girl In Alfred Hitchcock’s Shower by Robert Graysmith.

Tobey Maguire, Christian Bale, Robert Sean Leonard, Jeremy Davies, Henry Thomas and Joaquin Phoenix were all considered for the role of Norman Bates, which ultimately went to Vince Vaughn. In Mr. Lowery's office the following exchange is heard:

CASSIDY (to Marion): You should take a vacation in Las Vegas, playground of the world!
MARION: Thank you, but I think I'll spend this weekend in bed. CASSIDY: “Only playground to beat Las Vegas.”

The last sentence was in the original script used by Alfred Hitchcock for the original film but Hitch had to cut it due to the censors. Gus Van Sant used it in this remake since Hitch had intended to use it. Anne Heche had never seen the original Psycho (1960), before getting the part as Marion Crane. Bernard Herrmann did the score for the original film, which was adapted for this remake by Danny Elfman and Steve Bartek. By the time this film was made, the original exterior to the Bates Motel had long since been demolished. The one here was used for Psycho II (1983). The house was a new set constructed in front of the old one on the Backlot of Universal Studios. Upon completion of this film, the house was moved along side the first house on the Universal Backlot. Laura Linney was offered the role of Marion Crane but turned it down to do The Truman Show (1998) with Jim Carrey. This film marks the second time Viggo Mortensen was in a Hitchcock remake. The first was: A Perfect Murder (1998), which was a remake of: Dial ‘M’ For Murder (1954) – Hitch’s only 3D film. Julianne Moore was considered for the role of Marion Crane before being cast as Lila. Nicole Kidman was offered the role of Marion Crane but turned it down and Drew Barrymore was also considered for the role. The kitchen knife used in this film was credited as belonging to John Woo. The skull, which is superimposed over Vince Vaughn’s face at the end of the film, is the same skull put over Anthony Perkins’ face in the original film’s ending.

This film version of Psycho served as a springboard for a comedic segment on the Kevin Smith and Ralph Garman podcast: “Hollywood Babble–On”. In the first installment of the segment, Kevin Smith informed listeners that he spotted a rarely seen in film part of anatomy on Anne Heche in this film at the end of The Shower Scene. In subsequent segments listeners would send in stills and video of different famous backsides in films and television shows for Smith and Garman to view with their audience during the recording of the podcast. The segment also inspired two versions of a jingle for the podcast for the segment. One was almost like a kid’s show intro but with crude lyrics, while the other one had a beat that one could dance to, once again with crude lyrics. Mileage may vary as to how people may receive these segments, let alone this trivia. However, this reviewer found it all very amusing. 

Rated: [R] – Violence & Sexuality / Nudity
Out Of Print on VHS & Laserdisc but Available on Blu–ray, DVD & Digital Copy

The Psycho Legacy (2010)

B&W / C – 87m / 90m (sources vary)
Aspect Ratio: 1.78:1 – Widescreen
A.K.A.: The Psycho Legacy: 50 Years Of Norman Bates
Writer – Prod. – Dir.: Robert V. Galluzzo (as Robert Victor Galluzzo)
Starring: Juliette Cummins, Jeff Fahey, Lee Garlington, Cynthia Garris, Mick Garris, Stuart Gordon, Adam Green, Hilton A. Green, Tom Holland, Olivia Hussey, Robert Loggia, Andrew London, Joe Lynch, Anthony Perkins (archive footage), Charles Edward Pogue, Diana Scarwid, Donovan Scott, Brinke Stevens, Henry Thomas, Clint Carney, Richard Franklin (archive footage), Robert V. Galluzzo, Alfred Hitchcock (archive footage), Janet Leigh (archive footage) and Vera Miles (archive footage).

The cast and crew of all four Psycho films (1960–1990) recall their time working on the influential horror series as today’s masters of horror reminisce on what the movies stirred in them. This documentary on the Psycho film series (1960–1990) is slow moving but informative. While there is precious little time spent on the sequels there is a plethora of archive video that helps round out an appreciation for them. See this one.  

Trivia:

Writer, Producer, Director Robert V. Galluzzo started filming this documentary back in January 2007 by himself. Galluzzo went to Universal and pitched the idea of them financing the film and releasing it in a box set with the four Psycho films. Universal, uninterested, turned down the idea and it became an independent project. Richard Franklin was originally supposed to be interviewed in this documentary. Sadly he passed away before the interview took place. Two segments on Bates Motel (1987) and Psych (1998) were supposed to be included on the two–disc DVD version of this film. Strangely they were left off when the DVD set was released.

Rated: [NOT RATED]
Available on DVD & Digital Copy

78/52: Hitchcock’s Shower Scene (2017)

C / B&W – 91m
Aspect Ratio:
A.K.A.: 78/52
Writer – Dir.: Alexandre O. Philippe

The story of how the, “Shower Scene,” in Alfred Hitchcock’s: Psycho (1960), was filmed. Fascinating if somewhat repetitive analysis of the legendary scene features an interesting approach to the new footage. Where most documentaries would conduct their non–archival footage interviews in color, it was decided to do them in black and white here, so as to note break the flow of black and white from Psycho (1960). There is color footage from other Hitchcock films that were in color though. While there is some great psychological analysis of the film and the famous scene in particular, there is one factual error to report. While showing a fragment of The Lodger (1927), it is incorrectly dated as 1928. In actuality, The Lodger was shot in 1926 and released in 1927. Oops!

Trivia: The titled scene that is the subject of this documentary was comprised of 78 camera setups and 52 cuts. Thus the title.  

Available on Blu–ray, DVD & Digital Copy

The Shows:

Bates Motel (1987)

B&W / C – 90m
Aspect Ratio: 1.33:1 – Fullscreen
Writer – Exec. Prod. – Dir.: Richard Rothstein
Starring: Bud Cort, Lori Petty, Moses Gunn, Gregg Henry, Jason Bateman, Kerrie Keane, Robert Picardo, Kurt Paul, Peter Dobson, Paula Irvine and Greg Finley.
Music By: Jerry Cohen

A mentally disturbed man, who roomed with the late Norman Bates at the state lunatic asylum, inherits the legendary Bates Motel after the death of Norman and tries to fix it up and make it a respectable business. An interesting premise gone awry… This had a promising premise but just about everything that exists here is below sub–par. Maybe worth a look once just as a curio, but it isn’t a recommended viewing. 

Trivia:

This was a failed television series pilot that has since been released as a made for television movie on video. Bud Cort called Anthony Perkins for advice on how to prep for the role. Perkins told him to get in shape by doing pushups. Anthony Perkins, who played Norman Bates from 1960–1990, said that this film / show was terrible. Kurt Paul, who played Norman Bates here, was previously Anthony Perkins’ stunt double for: Psycho II (1983) and Psycho III (1986). He later played another killer being interviewed on a talk show in: Psycho IV: The Beginning (1990). He’s the only actor to appear in all the Psycho sequels done during Anthony Perkins’ lifetime. This was a popular bootleg film, due to low availability of the VHS tape, until 2013 when it was finally offered as a Manufactured On Demand (MOD) DVD. It has subsequently been released as part of a Psycho sequels 4 film collection on regular DVD. The opening shot of the Psycho house was lifted from the opening credits of: Psycho II (1983). The original house and motel exteriors were used during the production of this show / film. The alterations done in the film remained on the Universal Tour until 1993. This is still the lowest rated entry in the Psycho Franchise (1960 – Present).   

Out Of Print on VHS but Available on DVD & Digital Copy

Bates Motel: The Complete Series (2013–2017)

C – 2207m
Aspect Ratio: 1.78:1 – Widescreen
Characters Created By: Robert Bloch
Developed By: Anthony Cipriano, Carlton Cuse and Kerry Ehrin
Writers: Philip Buiser, Torrey Speer, Bill Balas, Erica Lipez, Alyson Evans, Steve Kornacki, Scott Kosar, Jeff Wadlo, Alexandra Cunningham, Liz Tigelaar, Nikki Toscano, Freddie Highmore and Tom Szentgyorgyi.
Dir.s: Tucker Gates, Ed Bianchi, Phil Abraham, Nestor Carbonell, Tim Southam, Sarah Boyd, Roxann Dawson, Christopher Nelson, Olatunde Osunsanmi, S.J. Clarkson, Paul A. Edwards, Johan Renck, David Straiton, John David Coles, Lodge Kerrigan, T.J. Scott, Stephen Surjik, Steph Green, Freddie Highmore and Max Thieriot.
Starring: Vera Farmiga, Freddie Highmore, Max Thieriot, Olivia Cooke, Nestor Carbonell, Kenny Johnson, Ryan Hurst, Nicola Peltz, Keenan Tracey, Ian Tracey, Aliyah O’Brien, Isabelle McNally, Kevin Rahm, Michael Eklund, Damon Gupton, Andrew Howard, Michael O’Neill, Keegan Connor Tracy, Mike Vogel, Jaime Ray Newman, Paloma Kwiatkowski, Joshua Leonard, Austin Nichols, Brooke Smith, Michael Vartan, Jenna Romanin, Rebecca Creskoff, Diana Bang, Vincent Gale, Kathleen Robertson, Peter Stebbings, Brittney Wilson, Jillian Fargey, Terence Kelly, Anika Noni Rose, Jere Burns, Marshall Allman, David Cubitt, Tomiwa Edun, Richard Harmon, Fiona Vroom, Emmalyn Estrada, Matthew Mandij, Kelly–Ruth Mercier, Terry Chen, Craig Erickson, Tracy Spiridakos, Nicholas Carella, Travis Breure, Farrah Aviva, Lini Evans, etc.

A contemporary prequel to Psycho that tracks Norman Bates and his mother, Norma, as he progresses through his teen years and becomes one of the most notorious serial killers of all time. This show may cause some to have the song, “Let’s Do The Time Warp Again”, stuck in their heads while watching it. A smart remake / prequel to Psycho (1960) featured an updated time setting but features clothing styles and cars from 1959. This may be a mind bender for some; it may even turn some people off to it, but not this reviewer. The performances are solid, particularly Vera Farmiga and Freddie Highmore and the cinematography is excellent. The sets are splendid and there is just enough feeling of oddity to the show that will keep viewers wondering what will happen next. As a film historian this reviewer can say that nothing will top the original film but this is a splendid companion to that Hitchcock masterpiece. See it! 

Trivia:

This was the first successful TV series from the Norman Bates world. There was a failed TV pilot that has since been released to video as a movie: Bates Motel (1987). The Wi–Fi password for the Bates Motel was: MOTHER. Vera Farmiga suggested Freddie Highmore for the role of Norman Bates. The exterior of the Bates’ house is a faithful reproduction of the design for the characters’ house in: Psycho (1960). That house in turn was modeled by Sir Alfred Hitchcock after Edward Hopper’s 1925 painting: “The House By The Railroad”. Series writer Bill Balas actually has Cystic Fibrosis and was the inspiration for the character Emma Decody having the disease. Despite the setting of the show being present day (at the time it aired), Norma Bates’ look, costumes, house design, etc. are modeled after the fashions of 1959, when the first Psycho film was being shot. Freddie Highmore studied at Cambridge during the filming of the first few seasons, so the shooting worked around that. Highmore then took six months off in order to go and finish at Cambridge. Timothee Chalamet auditioned for the role of Norman Bates but botched his audition, according to him, because he based his take on the character on Christian Bale in American Psycho (2000), rather than Anthony Perkins in Psycho (1960). This was based on his search results on Netflix.

Olivia Cooke was English, though she played her character with an American accent, her character’s backstory said she was English. Rihanna shot all her scenes in five days due to her busy schedule. When asked if she wanted to direct an episode of this show, Vera Farmiga hesitated because, on a TV show, the director doesn’t have any say over the final cut of an episode. She ultimately declined. Freddie Highmore, Nester Carbonell and Max Thieriot all directed episodes though. Brooke Smith plays a sheriff in the fifth season. She was also in The Silence Of The Lambs (1991), in which she played a young woman who was kidnapped by the bad guy, “Buffalo Bill”. Norman Bates and “Buffalo Bill” were both based on the same serial killer, Ed Gein. Tucker Gates directed the first episode and the final episode, bookending the series. Bates Motel is the third time that the Bates’ house has been replicated. The first time was for Psycho IV: The Beginning (1990) and the second time was in 2010 in Winnemucca, Nevada to celebrate the 50th Anniversary of Psycho (1960).

Freddie Highmore, who plays Norman Bates here, was born in 1992, the same year Anthony Perkins, the actor who made the role of Norman Bates famous in Psycho (1960) and three subsequent films, died. The company Marion Crane worked at was R.A. Bloch, an homage to Robert Bloch who wrote the Psycho book series. In the novels and films Dylan Massett did not exist, nor did Norman Bates have any siblings. The character of Marion Crane, played here by Rihanna, was originally played by Janet Leigh in: Psycho (1960). Olivia Hussey played Norma Bates in: Psycho IV: The Beginning (1990).   

Rated: [TV–14] & [TV–MA]
Available on Blu–ray, DVD & Digital Copy