Psycho (1960) Review – The Definitive Masterpiece Of Suspense

Welcome to Knockout Horror. Today we are checking out an absolute horror classic today with Alfred Hitchcock’s seminal horror masterpiece Psycho from 1960. Naturally, there isn’t much to be said about this movie that hasn’t already been said. I’ll try to keep things fairly brief but this is a perfect option for Halloween viewing.

A controversial horror

The movie follows the story of a young woman, Marion Crane (Janet Leigh), who steals a significant sum of money from her boss. Arriving at the Bates’ motel while on her way to meet her lover, Marion meets the proprietor of the motel, the shy and awkward Norman Bates (Anthony Perkins). After sharing a meal with Norman, Marion heads off to bed. Unaware that something is about to happen that will set off a sequence of terrifying events.

Directed by the legendary, albeit controversial, director Alfred Hitchcock, Psycho was based on the 1959 Robert Bloch novel of the same name. Psycho represented something of a departure for Hitchcock from his previous movies. Due to a limited budget he decided to film the movie in black and white and he also used the film crew from his Alfred Hitchcock Presents television series. 

The, at the time, controversial themes presented something of a risk factor for Hitchcock. And there were murmurs of the movie glorifying violence and indulging in sexuality and murder. Something that seems somewhat amusing given the passage of time. But these were serious allegations in the 1960s as mainstream movies simply didn’t indulge in the presentation of characters with sadistic, murderous traits.

Critics didn’t like it

While it didn’t do the movie any harm in the long run, critics jumped on the controversial subject matter. Attacking the movie and dismissing it as being, essentially, made for shock value. The violence and on-screen murders were just too much for the sensitive movie reviewers of the 60s. A group far too concerned with the glorification of killing rather than the skill of a, then, world-renowned director. They only decided to take another look at Psycho after it started to sell out at the box office and turn in serious cash.

It pays to remember just how fickle critics can be. Stanley Kauffmann, among others, was quick to pile on the movie in his review, taking aim at the supposed plot holes and violence while the Observer’s Caroline Lejeune refers to the murders as being the most sickening in cinema history, signing off the review lamenting not making it to the end due to Psycho being a beastly affair.

It should be noted that many English reviewers had their minds already made up about Psycho. Purely due to being inconvenienced with pre-set viewing times and the fact that Hitchcock was now an expatriate. To say these reviewers were left with egg on their face is something of an understatement. Luckily, time didn’t wait to prove them melodramatic with Psycho going on to become an immediate success in both countries.

Continually captivating

The way Psycho presents the stories of its characters in almost individual segments is fascinating. What initially seems like the story of a desperate woman making some poor decisions eventually evolves into something much greater with a much larger cast and far more twists and turns. It is expertly done. The plot weaves and turns sending the viewer in unexpected directions while never letting its foot off the gas.

The pacing is tremendous with the movie never dragging its feet for a single second. Hitchcock grabs your attention and holds it for the entire run time. Warping and contorting the events surrounding our characters and opening up new threads seamlessly. Before you know it, the movie has almost hit its final stanza and you are wondering where the time went. The mark of a truly great horror.

“Hitchcock grabs your attention and holds it for the entire run time. Warping and contorting the events surrounding our characters and opening up new threads seamlessly.”

Something that is deserving of particular note with Psycho, and with Hitchcock as a director, is the way you care equally about each separate character’s story. You invest thoroughly in each and every scene. Every conversation and interaction is purposeful and important. There isn’t a second of wasted motion. Everything feels significant and every second of screen time is equally relevant. This is something that is incredibly difficult to achieve in cinema. The pacing and storytelling is just so damn tight. Psycho is one of, if not the, best horror movies of all time.

A slasher prototype

In many ways, Psycho is one of the first slasher movies. I always refer to Black Christmas as being the proto-slasher but it is impossible not to look at Psycho‘s place in slasher history when thinking of the evolution of the genre. Slashers to follow would lampoon many of Psycho‘s techniques and place a strong focus on the setup and execution of the murder set pieces. Something that can be directly attributed to this movie’s iconic shower scene. 

The thing is, this movie was bucking the typical slasher trends way before they were set. Its antagonist isn’t a faceless killer or a shape hidden in the shadows. The killer here is well developed and has a strong backstory. They aren’t motiveless and they don’t kill for fun. Psycho established a lot of slasher traits for subsequent movies while also laying down the foundations for later horror with more developed and more fleshed out antagonists. 

Stellar acting

Acting is fantastic. Janet Leigh balances being completely likable with also being of legitimately questionable morals. With the character of Marion inspiring care in the viewer while also understanding why she did what she did. Leigh’s line delivery is perfect. But it is her subtle use of facial expressions that stand out, consistently reflecting Marion’s conflicted emotions clearly.

“Anthony Perkins is astonishingly great as Norman Bates. His mix of shy nervousness and sinister brooding is sublime. It’s one of the best horror performances of all time.”

John Gavin oozes leading man charm as Marion’s lover Sam, putting across a genuinely memorable performance that is particularly enjoyable during his later interactions with Bates.

Vera Miles is excellent as Marion’s sister Lila, demanding that the viewer care about her predicament and invest in her attempts to uncover the mystery of the Bates motel. It’s Andrew Perkins, however, that ultimately stands out; he is astonishingly great as Norman Bates. His mix of shy nervousness and sinister brooding is sublime. The way he effortlessly stutters while speaking and switches between timid and aggressive is incredible. It’s one of the best horror performances of all time, without question. It is in no small part down to Perkins’ pitch perfect performance that Bates became a horror icon. 

Excellent direction and an iconic score

Direction is, obviously, fantastic. This might not be Hitchcock’s magnum opus in a lot of people’s eyes, often considered to be too much of a “popular” vote, but it is surely his most influential. Hitchcock sets up his shots here in a way to put you into the eyes of the characters. Many of the shots are first-person and feature characters staring straight at the viewer. Others almost see us as the perpetrators of the crimes.

The viewer is drawn into the story being told and made to practically exist within the film’s world. It’s brilliant stuff and while it might look a little strange through a modern lens, it still works just so damn well. The heavy use of shadows is worthy of note and Marion’s rain-soaked approach to the Bates motel is a shot I will love forever. So many of the shots are utterly iconic but it’s the subtlety of detail that deserves mention. Hitchcock obsessed over everything from the way the shower head sprayed water, to the 60+ cuts in one 40-second shot, to the colour of Marion’s underwear. 

“Hitchcock obsessed over everything from the way the shower head sprayed water to the 60+ cuts in one 40-second shot. Psycho is expertly crafted.”

It’s impossible to talk about Psycho without bringing up Bernard Herrmann’s score. Psycho is iconic for so many reasons, Herrmann’s score being one of them. Everyone knows the opening piece and the staccato violin shriek that accompanies every knife strike has been used and used again in horror. I mentioned it briefly in our review of Carrie. Herrmann opted for a string orchestra due to the lower budget and it works beautifully, with the score acting as almost a guide for the tension. 

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Horror is a genre that thrives thanks to indie film makers and low budget creators. At Knockout Horror, we firmly believe that every movie that we review deserves a fair fight. That's why we grade on a curve. Our star ratings are all about context, judging a film on what it achieves with the resources it has.

A 4-star rating for a scrappy indie horror made for $10,000 is a testament to its ingenuity and raw power. A 4-star rating for a $100 million blockbuster means it delivered on its epic promises. We don't compare them side-by-side; we celebrate success in every weight class, from the back-alley brawler to the heavyweight champion. Please keep this in mind when considering star ratings.

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