A Phoenix office worker, Marion Crane (Janet Leigh), is secretly dating Sam Loomis (John Gavin). However, the woman is tired of this life and would like to marry, seeking peace of mind and security in marriage. Marion, attracted by the idea of pulling off a good heist, steals $40 million from her employer and flees the small town. She then spends the night in her car, and then is forced to change it because a policeman has noticed her and is following her. With the new bargain car (and money) she resumes her escape, but takes a wrong turn and reaches a motel, where she decides to stay overnight.
At that rather isolated motel, she meets the shy but kind Norman Bates (Anthony Perkins) who offers her room No. 1.
Marion, meanwhile, is sought by her sister, Lila Crane (Vera Miles), her employer (Simon Oakland), a detective (Martin Balsam) and, after being alarmed by her sister, her lover. However, Marion Crane will never be found again, and so the search continues until the delusional and disturbing finale, which reveals the sad truth about what happened to Marion...
This film, enjoyed several awards, given by the Academy Awards Nominations: best director, best supporting actress (Janet Leight), best cinematography, set design and decor.
Overall, the film, in addition to taking on a giallo-horror connotation, mixes love with horror on a narrative plane that borders, in the finale, on madness. Marion stubbornly desires happiness (along with her lover), and this desire, so strong for love, gives a touch of sweetness to the character who, however, borders on insanity at times, when she decides to put her plan into action, which ends in theft. The message that can be read "between the lines" seems to be that of unforgiving fate, as it will cause her to meet, in that lonely motel, the equally lonely Norman Bates. Through this encounter/clash, British director Alfred Hitchcock gives us the most imitated scene in cinema, namely the famous shower sequence. But in addition to this historic example of film editing, the whole film is a symbol of great cinematic technique. Beginning with the way Norman Bates is portrayed (and framed), who is the main character suffering from severe mental disorders but free to act undisturbed. Brilliant, too, is the choice to have left ample space for Marion's character as much as for Norman's, so that, although not framed as the "main protagonist," Janet Leigh plays a key role in the film. Interesting then is the choice of the actress who is not quite the classic "cover beauty," but an attractive, if plain, and somewhat frumpy woman. In addition to these two figures, the indifference of Marion's principal toward the young girl is also well portrayed. The latter, in fact, has only an interest in recovering her money and for this he hires a detective. Also of remarkable care is the characterization of the characters, which is well developed as the story unfolds.
From the first frame to the last, the film is able to glue you to the screen, thanks in part to Bernard Hermann's soundtrack, which is in perfect harmony with the images that appear on the screen.
Psycho, based on the novel by Robert Bloch later adapted by Joseph Stefano, is recommended for those who are nostalgic for somewhat dated cinema, and especially for those who want to view a film that will forever remain in history as a true cinematic masterpiece.
Some interesting facts: the actress who plays Marion (Janet Leigh) is the mother of Jamie Lee Curtis, whom Carpenter would consecrate to horror with the famous Halloween.
While the seguence of the detective (Martin Balsam) falling down the stairs was also mentioned by Dario Argento in the episode The Black Cat (Two Diabolical Eyes), using the same actor in an almost similar circumstance.
A milestone of thriller cinema.
Review of VAMPIRA
