The above is the famous Alfred Hitchcock promo for his film "Psycho". It is a six and a half minute trailer, it is an amusing tour of the location for the movie with some dry commentary from the master himself.
This was the final film in the Hitchcock week of films and sadly it was the only one I could make it to this summer. "Psycho actually screened once before, earlier in the week, but the demand for the film was such that the Saturday matinee was packed also, and there was plenty to be excited about.
"Psycho" is the precursor to all the slasher films to come, and they still all have failed to live up to it's legendary status. That's because those films focus on the horror of the murders but they have paper thin characters. "Psycho" has a half dozen interesting characters and two leads that are among the finest performances ever in a film, much less a horror film. Janet Leigh exits the film in twenty minutes, but up to Marion Crane's death she is a terrific character filled with lust, sadness, guile, guilt and regret. Her story arc is interrupted by her murder but we understand in the end that she was a good woman who simply went mad for a moment. Norman Bates on the other hand, has been mad for years, and it is only for a few moments at a time that he seems sane.
The clash between the thief with regret and the mother's boy with sexual hang-ups is so perfectly played out in the scene in the office parlor of the motel. Marion is thoughtful, sympathetic and friendly with Norman, in spite of his obvious quirks. Norman is outgoing, sad, resentful and shy as he talks with Marion over a cheese sandwich and a glass of milk. The surroundings look comfortable, until you notice all the stuffed birds in the room, and suddenly his quirks are a little more disconcerting. Leigh and Perkins are both brilliant in this scene and it is my favorite in the movie.
Martin Balsam has been in a number of films I have loved over the years. His private detective Arbogast, is surprisingly warm in this film. He is looking for someone who has run away and has a small fortune in her purse, but his relentless search is not malevolent, he seems to want to help Marion as much as find her. His sympathy toward Lila, her sister, and even Sam Loomis, comes across as real rather than just a tool to put them at ease. Even his dogged questioning of Norman is done with velvet gloves. His moment is the opposite of Marion's. She was a victim of a slow build up that the audience sees coming, his encounter with Mrs. Bates is shockingly quick and almost a jump cut.
The title sequence and the Bernard Herrmann theme are enough to get most people salivating at the thought of the whole movie. The work of Saul Bass is legendary and his design for the title sequence is simple and exquisite. Combine that with the string saturated violence in Herrmann's score and you know a treat is coming.
