Psycho (1960)

A groundbreaking film of suspense and horror that is widely considered to be a masterpiece that has re-defined the ‘thriller’ genre – Psycho, directed by Alfred Hitchcock, and based on Robert Bloch’s novel of the same name, has the film start by following Marion Crane, a young woman who goes on the run after stealing a large sum of money and meets Norman Bates, an unsettling and strange motel owner with a dark secret. Beyond delivering suspense and plot twists, Psycho explores themes of guilt, identity, and psychological conflict – and by doing so experimentally (especially for so many decades ago) it has cemented itself as a landmark in American cinema.

However, after watching the film myself recently, I – despite its glowing reputation – have found that it simply isn’t to my taste.

I felt that the film was too heavy handed, especially when it came to its handling of suspense. For example, during the – in my opinion – tedious car scenes, the frantic strings of the score that played loudly and repetitively during them were a sort of signal that now was the time the audience were meant to get antsy – and I felt that the car scenes wouldn’t have been remotely anxiety-inducing without the score. In fact, I also believe that the score for the film is a relatively large part as to why it's so revered today. After all, the infamous and iconic shower scene’s music is likely the most popular aspect that came out of it – though Hitchcock’s rapid cuts and close-ups, which created the illusion of violence without explicit gore, was a novel choice that shocked audiences and redefined horror conventions.

However, after watching Psycho and getting some second opinions and enlightening point-outs (in the form of video essays from film enthusiasts), I can now realise, accept, and appreciate the finer details of the film’s visual storytelling that I missed in my first and only watch.

I admit, I was a bit preoccupied with Detective Arbogast’s scene on the stairs – but after all, it’s a film of the 60s. They did their best!

On another note, I found Anthony Perkins' portrayal of Norman Bates to be excellent, with him blending charm and menace to create a character that is both endearing and disturbing. His complex relationship with his domineering mother adds psychological depth, while Janet Leigh’s performance as Marion captures her desperation and remorse, making her sudden fate all the more shocking.

Psycho also pushed boundaries with its bold depiction of violence and psychological illness (though the latter would look especially outdated to modern audiences). It challenged censorship norms of its time – which is something to applaud.

Even though I personally didn’t really enjoy the way the story was handled and portrayed, it was an interesting watch from a historical point of view – and I can appreciate Psycho’s revolutionary artistry for its time and acknowledge the fact that my disinterest in it is entirely due to my own personal tastes.