| Psycho | |
|---|---|
 Theatrical release poster |
|
| Directed by | Gus Van Sant |
| Produced by | Gus Van Sant Brian Grazer |
| Written by | Novel: Robert Bloch Screenplay: Joseph Stefano |
| Starring | Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen William H. Macy Philip Baker Hall |
| Music by | Bernard Hermann Danny Elfman |
| Cinematography | Christopher Doyle |
| Editing by | Amy E. Duddleston |
| Studio | Imagine Entertainment |
| Distributed by | Universal Pictures |
| Release date(s) | December 4, 1998 |
| Running time | 109 min. |
| Country | United States |
| Language | English |
| Budget | $60 million |
| Gross revenue | $37,141,130 |
| Preceded by | Psycho IV: The Beginning |
Psycho is a 1998 American horror film produced and directed by Gus Van Sant for Universal Pictures, a remake of the 1960 film directed by Alfred Hitchcock. Both films are adapted from the novel by Robert Bloch, which were in turn inspired by the crimes of Wisconsin serial killer Ed Gein.
Although this version is in color, features a different cast, and has been set in a contemporary timeframe, it is closer to a shot-for-shot remake than most remakes, often copying Hitchcock's camera movements and editing. Bernard Hermann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo. Some changes are introduced to account for advancements in technology since the original film and to make the content more explicit. Murder sequences are also intercut with surreal dream images.
Contents |
Marion Crane (Anne Heche) steals $400,000 from her employer to get her boyfriend Sam Loomis (Viggo Mortensen) out of debt, and flees Phoenix, Arizona by car. While on route to Sam's California home, she parks along the road to sleep. A highway patrol officer awakens her and, suspicious of her agitated state, begins to follow her. When she trades her car for another one at a dealership, he notes the new vehicle's details. Marion returns to the road but, rather than drive in a heavy storm, decides to spend the night at the Bates Motel.
Owner Norman Bates (Vince Vaughn) tells Marion he rarely has customers because of a new interstate nearby and mentions he lives with his mother in the house overlooking the motel. He invites Marion to have supper with him. She overhears Norman arguing with his mother about letting Marion in the house, and during the meal she angers him by suggesting he institutionalize his mother. He admits he would like to do so, but does not want to abandon her.
Marion resolves to return to Phoenix to return the money. After calculating how she can repay the money she has spent, Marion dumps her notes down the toilet and begins to shower. An anonymous female figure enters the bathroom and stabs her to death. Finding the corpse, Norman is horrified. He cleans the bathroom and places Marion's body, wrapped in the shower curtain, and all her possessions — including the money — in the trunk of her car and sinks it in a nearby swamp.
Sam is contacted by both Marion's sister Lila (Julianne Moore) and private detective Milton Arbogast (William H. Macy), who has been hired by Marion's employer to find her and recover the money. Arbogast traces Marion to the motel and questions Norman, who unconvincingly lies that Marion stayed for one night and left the following morning. He refuses to let Arbogast talk to his mother, claiming she is ill. Arbogast calls Lila to update her and tells her he will contact her again in an hour after he questions Norman's mother.
Arbogast enters Norman's house and at the top of the stairs is attacked by a figure who slashes his face three times with a knife, pushes him down the stairs, then stabs him to death. When Arbogast does not call Lila, she and Sam contact the local police. Deputy Sheriff Al Chambers (Philip Baker Hall) is perplexed to hear Arbogast saw a woman in a window, since Norman's mother died ten years ago. Norman confronts his mother and urges her to hide in the cellar. She rejects the idea and orders him out of her room, but against her will Norman carries her to the cellar.
Posing as a married couple, Sam and Lila check into the motel and search Marion's room, where they find a scrap of paper in the toilet with "$400,000" written on it. While Sam distracts Norman, Lila sneaks into the house to search for his mother. Sam suggests to Norman that he killed Marion for the money so he could buy a new motel. Realizing Lila is not around, Norman knocks Sam unconscious with a golf club and rushes to the house. Lila sees him and hides in the cellar where she discovers the mummified body of Norman's mother. Wearing his mother's clothes and a wig and carrying a knife, Norman enters and tries to attack Lila, but she is rescued by Sam.
After Norman's arrest, forensic psychiatrist Dr. Fred Richmond (Robert Forster) tells Sam and Lila that Norman's dead mother is living in Norman's psyche as an alternate personality. After the death of Norman's father, his mother found a love. Norman went over the edge with jealousy and murdered both of them. He stole her corpse and preserved the body. When he is "Mother", he acts, talks, and dresses as she would. Norman imagined his mother would be as jealous of a woman to whom he might be attracted just as he was of his mother's lover, and so "Mother" kills any woman he has feelings for; when Norman regains consciousness, he believes that his mother has committed the crime, and covers up for her. Richmond concludes that the "Mother" personality has now taken complete control of Norman's mind.
In the final scene, Norman sits in a cell, thinking in "Mother's" voice. In a voiceover, "Mother" explains that she plans to prove to the authorities she is incapable of violence by refusing to swat a fly that has landed on her hand. The final shot shows Marion's car being recovered from the swamp, and then goes to end credits.
Director Gus Van Sant, emulating Hitchcock's practice of making cameo appearances in his films, appears as "Man talking to man in cowboy hat" at the same point in his film when Hitchcock made his appearance in the original. According to the DVD commentary track that featured Van Sant, Vaughn, and Heche, Van Sant's character is being scolded by Hitchcock in the scene.
The audio commentary track that accompanies the DVD release of the film, and the "making-of" documentary (Psycho Path) that the DVD includes, provide numerous details about where the film strived to remain faithful to the original, and where it diverged. Some changes are pervasive: as the film opens, it is made clear that it is set in the late 1990s, so minor changes are made throughout the dialogue to reflect the new timeframe. For example, all the references to money are updated (how much Marion Crane steals, how much a car costs, how much a hotel room costs), as are references to terms from the original script like "aspic" that would seem anachronistic in the new setting. According to Van Sant, in the original the only fully-fleshed out character was Norman Bates; the other major characters were more iconic, purposely written and portrayed to advance the plot; Van Sant relied upon his main cast more to flesh out and make consistent their character's motivations and worked with them to determine to what degree their characters were similar to the originals. According to the commentary by Van Sant, Vaughn, and Heche, some actors, such as William H. Macy, chose to stay true to the original, while others, such as Vaughn and Julianne Moore, interpreted the dialogue and scenes from the original film differently; Moore's version of Lila Crane, for example, was much more aggressive than the one portrayed by Vera Miles, and there are differences in Marion Crane's evolving attitudes about the money she stole. The cinematography and the cinematic techniques were consistent between the two films in many of the film's most memorable scenes, including the shower scene, scenes of the mother, scenes of the swamp, and the scene of Arbogast on the staircase, but other scenes changed significantly, particularly the climax, and the Dr. Simon monologue at the end, which was much shorter. Van Sant's comments from the commentary track attributes many of the updates to the need to make the film more accessible to a new audience.
The film earned $37,141,130 in box office, $21,456,130 of which came from North America.[1] Estimates of the production budget range from $20 million[2] to $60 million[1]; while promoting his 2002 film Gerry, Van Sant said he thought the producers "broke even" financially.[3]
This version of Psycho received mostly negative reviews; it was awarded two Golden Raspberry Awards, for Worst Remake or Sequel and Worst Director for Gus Van Sant, while Anne Heche was nominated as Worst Actress.
A number of critics and writers viewed Van Sant's version more as an actual experiment in shot-for-shot remakes. Many people refer to this film as more of a duplicate of the 1960 film rather than a remake. Film critic Roger Ebert wrote that the film "demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted."[4] Screenwriter Joseph Stefano, who worked on the 1960 version, thought that although she spoke the same lines, Anne Heche portrays Marion Crane as an entirely different character.[5] Even Van Sant admitted that it was an experiment that proved that no one can really copy a film exactly the same way as the original.[6]
One positive review came from Janet Maslin, who called the film an "artful, good-looking remake (a modest term, but it beats plagiarism) that shrewdly revitalizes the aspects of the real Psycho (1960) that it follows most faithfully but seldom diverges seriously or successfully from one of the cinema's most brilliant blueprints"; she noted that the "absence of anything like Anthony Perkins's sensational performance with that vitally birdlike presence and sneaky way with a double-entendre ("A boy's best friend is his mother") is the new film's greatest weakness."[7]
The film's soundtrack, Psycho: Music from and Inspired by the Motion Picture, included Danny Elfman's re-recordings of some of Bernard Hermann's score for the original film, along with a collection of songs in genres from country to drum and bass, connected mainly by titles containing "psycho" or other death or insanity-related words. Many of the songs were recorded specifically for the soundtrack, to the extent that a number of them sample Hermann's score as well.
|
||||||||||||||||||||
|
|||||||||||
Psycho is a 1998 film about a secretary who is on the run after stealing money from her employers, and her encounter with a profoundly disturbed motel owner. It is a remake of Alfred Hitchcock's 1960 classic.
Contents |
| Actor | Role |
|---|---|
| Vince Vaughn | Norman Bates |
| Anne Heche | Marion Crane |
| Julianne Moore | Lila Crane |
| Viggo Mortensen | Sam Loomis |
| William H. Macy | Milton Arbogast |
| Robert Forster | Dr. Fred Stone |
| Philip Baker Hall | Sheriff Al Chambers |
| Anne Haney | Mrs. Eliza Chambers |
| Chad Everett | Tom Cassidy |
| Rance Howard | George Lowery |
| Rita Wilson | Caroline Wilson |
| James Remar | Policeman |
| James LeGros | Charlie LeGros |
   | Official site - P S Y C H O |
| | Review of Psycho (1998 film) - Psycho :: rogerebert.com :: Reviews |
| | The odd world of Gus Van Sant - The New York Times > Log In |
| | Psycho Analysis: An Interview With Screenwriter Joseph Stefano - Screens: Psycho Analysis: An Interview With Screenwriter Joseph Stefano - The Austin Chronicle |
|
|
Wikis
Quiz
Map
Search
