Psycho (1960 film)

From Quotes
Love is a tyrant sparing none.
Pierre Corneille
Jump to: navigation, search

Psycho is a 1960 film about a secretary who is on the run after stealing money from her employers, and her encounter with a profoundly disturbed motel owner.

Directed by Alfred Hitchcock. Screenplay written by Joseph Stefano; Based on the novel by Robert Bloch.
Don't give away the ending — it's the only one we have! Taglines
Spoiler warning: Plot, ending, or solution details follow.

Norman Bates

  • [in his head, as his mother] It is sad when a mother has to speak the words that condemn her own son. I can't allow them to think I would commit murder. Put him away now as I should have years ago. He was always bad and in the end he intended to tell them I killed those girls and that man, as if I could do anything but just sit and stare like one of his stuffed birds. They know I can't move a finger and I want to just sit here and be quiet just in case they suspect me. They're probably watching me. Well, let them. Let them see what kind of a person I am. [see a fly on "her" hand] I'm not even going to swat that fly. I hope they are watching... they'll see. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly..." [smirking with satisfaction]

Dialogue

Norman Bates' Mother: No! I tell you no! I won't have you bringing some young girl in for supper! By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds!
Norman Bates: Mother, please...!
Norman Bates' Mother: And then what? After supper? Music? Whispers?
Norman Bates: Mother, she's just a stranger. She's hungry, and it's raining out!
Norman Bates' Mother: [mockingly] "Mother, she's just a stranger"! As if men don't desire strangers! As if... ohh, I refuse to speak of disgusting things, because they disgust me! You understand, boy? Go on, go tell her she'll not be appeasing her ugly appetite with MY food... or my son! Or do I have to tell her because you don't have the guts! Huh, boy? You have the guts, boy?
Norman Bates: [shouts] Shut up! Shut up!

Norman Bates: You-you eat like a bird.
Marion Crane: [Looking around at the stuffed birds] And you'd know, of course.
Norman Bates: No, not really. Anyway, I hear the expression 'eats like a bird' — it-it's really a fals-fals-fals-falsity. Because birds really eat a tremendous lot. But I-I don't really know anything about birds. My hobby is stuffing things. You know — taxidermy. And I guess I'd rather stuff birds because I hate the look of beasts when their stuffed — you know, foxes and chimps. Some people even stuff dogs and cats — but, oh, I can't do that. I think only birds look well stuffed because — well, because they're kind of passive to begin with.

Norman Bates: You know what I think? I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.
Marion Crane: Sometimes, we deliberately step into those traps.
Norman Bates: I was born into mine. I don't mind it anymore.
Marion Crane: Oh, but you should. You should mind it.
Norman Bates: Oh, I do, [laughs] but I say I don't.
Marion Crane: You know — if anyone ever talked to me the way I heard — the way she spoke to you...
Norman Bates: Sometimes — when she talks to me like that — I feel I'd like to go up there, and curse her, and-and-and leave her forever! Or at least defy her! But I know I can't. She's ill.

Norman Bates: If you love someone, you don't do that even if you hate them. You understand that I don't hate her — I hate what she's become. I hate the illness.
Marion Crane: Wouldn't it be better if you put her... someplace.
Norman Bates: You mean an institution? A madhouse?
Marion Crane: No, I didn't mean it like —
Norman Bates: [suddenly angry] People always call a madhouse "someplace", don't they? "Put her in someplace."
Marion Crane: I-I'm sorry. I didn't mean it to sound so uncaring.
Norman Bates: What do you know about caring? Have you ever seen the inside of one of those places? The laughing, and the tears, and the cruel eyes studying you? My mother there? Oh, but she's harmless! She's as harmless as one of those stuffed birds!
Marion Crane: I am sorry. I only felt... it seems she's hurting you. I tried to mean well.
Norman Bates: People always mean well! They cluck their thick tongues, and shake their heads and suggest, oh, so very delicately! Of course, I've suggested it myself. But I hate to even think about it. She needs me. It-it's not as if she were a maniac — a raving thing. She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you?
Marion Crane: Yes. Sometimes just one time can be enough. Thank you.
Norman Bates: Thank you, Norman.
Marion Crane: Norman.

Sam Loomis: I've been doing all the talking so far, haven't I? I thought it was the people who were all alone all the time who did most of the talking when they got the chance. Here you are doing all the listening. You're alone here aren't you? Drive me crazy.
Norman Bates: I think that would be a rather extreme reaction, don't you?
Sam Loomis: Just an expression. What I meant was, I'd do just about anything to get away, wouldn't you?
Norman Bates: No.

Sam Loomis: I'm not saying that you shouldn't be contented here, I'm just doubting that you are. I think if you saw the chance to get out from under you would unload this place.
Norman Bates: This place? This place happens to be my only world. I grew up in that house up there. I happen to have a very happy childhood. My mother and I were more than happy.

Dr. Fred Richmond: Like I said... the mother... Now to understand it the way I understood it, hearing it from the mother... that is, from the mother half of Norman's mind... you have to go back ten years, to the time when Norman murdered his mother and her lover. Now he was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman, and for years the two of them lived as if there was no one else in the world. Then she met a man... and it seemed to Norman that she 'threw him over' for this man. Now that pushed him, over the line and he killed them both. Matricide is probably the most unbearable crime of all... most unbearable to the son who commits it. So he had to erase the crime, at least in his own mind. He stole her corpse. A weighted coffin was buried. He hid in the body in the fruit cellar. Even treated it to keep it as well as it would keep. And that still wasn't enough. She was there! But she was a corpse. So he began to speak for her, give her half his life, so to speak. At times, he could be both personalities, carry on conversations. At other times, the mother half took over completely. Now he was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed that she was jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild. [to Lila] When he met your sister, he was touched by her... aroused by her. He wanted her. That set off the 'jealous mother' and 'mother killed the girl' Now after the murder, Norman returned as if from a deep sleep. And like a dutiful son, covered up all traces of the crime he was convinced his mother had committed!
Sam Loomis: Why was he dressed like that?
District Attorney: He's a tranvestite!
Dr. Fred Richmond: Ah, not exactly. A man who dresses in women's clothing in order to achieve a sexual change, or satisfaction, is a transvestite. But in Norman's case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And when reality came too close, when danger or desire threatened that illusion — he dressed up, even to a cheap wig he bought. He'd walk about the house, sit in her chair, speak in her voice. He tried to be mother! And uh now he is. Now that's what I meant when I said I got the story from the mother. You see, when the mind houses two personalities, there's always a conflict, a battle. In Norman's case, the battle is over — and the dominant personality has won.
Al Chambers: And the forty thousand dollars? Who got that?
Dr. Richmond: The swamp. These were crimes of passion, not profit.
Police Officer [entering room with blanket on arm] He feels a little chill. Can I bring him this blanket?
Dr. Richmond: [lighting cigarette] Oh, sure.
Police Chief James Mitchell: All right.

Taglines

  • A new — and altogether different — screen excitement!!!
  • No one ... BUT NO ONE ... will be admitted to the theatre after the start of each performance of Alfred Hitchcock's Psycho.
  • It is required that you see Psycho from the very beginning!
  • Don't give away the ending — it's the only one we have!
  • The screen's master of suspense moves his camera into the icy blackness of the unexplained!
  • The master of suspense moves his cameras into the icy blackness of the unexplored! (window card)
  • Exploring the blackness of the subconscious man!

Cast

External links

Wikipedia
Wikipedia has an article about: