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Gladys Hamilton (Seattle) i was told that I can migos Psycho free download, but I did not believe, especially the year 1960 New York. Michael Whitehead (Lexington) Alfred Hitchcock Psycho free download Bluray at high speed, and even in the USA Cambridge.
Thriller, Mystery, Horror
IMDB rating:
Alfred Hitchcock
Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Martin Balsam as Milton Arbogast
John McIntire as Deputy Sheriff Al Chambers
Simon Oakland as Dr. Fred Richmond
Vaughn Taylor as George Lowery
Frank Albertson as Tom Cassidy
Lurene Tuttle as Mrs. Chambers
Patricia Hitchcock as Caroline
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Storyline: Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.
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HQ DVD-rip 852x480 px 1297 Mb h.264 1500 Kbps flv Download
iPhone 480x270 px 569 Mb xvid 600 Kbps mov Download
"Television has brought murder back into the home - where it belongs." - Alfred Hitchcock
"Television has brought murder back into the home - where it belongs." - Alfred Hitchcock

I am often asked what my favorite film of all time is. My reply is always the same: I do not have a favorite from all the genres. But from the thousands of films I have seen, I have not seen a film more horrifying nor terrifying as Alfred Hitchcock's "Psycho," the only movie that has ever truly scared me in my entire life. And so I can honestly say that "Psycho" is the scariest film I have ever seen, and is quite probably my favorite horror film of all time.

This is the movie that redefined the genre, and literally gave birth to psychological thrillers. By today's standards, "Psycho" may seem - at the most - tame. Audiences may not be scared by the plot anymore - a plot that was, at the time, unlike anything other, but nowadays quite normal. Gus Van Sant remade Hitchcock's classic in 1998 with both critics and audiences blowing it off. Modern audiences of today are used to slashers such as "Halloween," "Friday the 13th," "A Nightmare on Elm Street," "The Texas Chainsaw Massacre," etc., and so Van Sant's "Psycho" did nothing but disappoint them. But I guarantee that if you place modern audiences in front of Hitchcock's "Psycho," they will come out of the film terrified to death (like I was when I first saw it).

Why is this? It is simply because modern audiences don't expect such creepiness and evilness to be in a 1960 film. Most modern audiences think that "Star Wars" (1977) was the start of motion picture history, that anything beforehand is stupid, cheery and not worth their time. They will go into Hitchcock's "Psycho" and expect a happy little picture, which is why they will come out pale with fear.

It all comes down to the fact that in 1960, mainstream films did not have such subject matters as split personality disorder (seen in this year's "Identity"), figures with homicidal tendencies (like John Doe in "Se7en"), or characters who are literally insane (like Hannibal Lector-type-criminals). "Psycho" set the course for these films. It blew audiences out of the water. They had never seen anything like it before. It is probably the only film that has ever really, truly scared me to death. I didn't want to take showers for weeks.

Hitchcock once said, "Cartoonists have the best casting system. If they don't like an actor, they just tear him up." I'm glad Hitchcock didn't try to tear up Anthony Perkins, who plays Norman Bates in "Psycho," as a shy, awkward fellow living off of a re-routed highway. He is perfectly cast and soundly directed by Hitchcock, coming off as a somewhat strange, implacable fellow. We aren't quite sure what to make of him.

Phoenix banker Marion Crane (Janet Leigh) is a poor creature living off of practically nothing. She wants to get married to Sam Loomis (John Gavin), but the costs of a wedding outweigh both their incomes. And so one night when her employer entrusts Marion with 40,000 dollars, she flees with the money in the back of her car to go find Sam. However, tired from a long drive, she stops at the Bates Motel for the night. She never leaves the motel, because Norman Bates' reclusive mother becomes jealous of Marion and kills her. Or does she?

Hitchcock masterfully weaves the suspense and horror in "Psycho," so much so that we simply do not know what to think until everything unravels towards the end. The infamous shower scene remains one of the most impressive and wonderful segments in all motion picture history, ranking up there with the unveiling of Harry Lime in "The Third Man," the revelation by Darth Vader in "Star Wars," and one of my personal favorites, the part in "Planes, Trains and Automobiles" when Neal Page and Del Griffith wake up in bed entangled with each other. ("Those aren't pillows!")

I think that the anticipation of fear, or the insinuation of something sinister lurking behind a shadowed doorway, is much scarier than blood and guts. Freddy Krueger does not scare some people. Modern horror films tell us what we are supposed to fear, whereas films such as "Psycho" leave the images up to us. Not every person may leave a Jason Voorhees movie scared. Everyone will leave "Psycho" scared. Because as our mind tries to place a face on the fear, our mind incorporates our very fears into the image.

Alfred Hitchcock is undoutedly one of the greatest and most influential film directors in the history of motion pictures. He can create suspense like no other and he can make even the simplest story the most nail-biting, terrifying picture of all time. I recently purchased a DVD with four of Hitchcock's early British films from the thirties, including "The 39 Steps" and "The Lady Vanishes." Hitchcock's sense of solid suspense can be felt even in those early films. He is, quite simply, the master of suspense. Is it no wonder he has gained the exact reputation as mentioned?

Some films land on greatness and don't always deserve their reputation quite so much as everyone seems to think so. "Psycho" is not such a film. Here is a movie that bent and broke every set rule of film making for the time, and changed the course of horror films for the better. The nineties have shown a return to the classic horror/mystery/thriller mix of Hitchcock and Agatha Christie. Here is the granddaddy of them all. Here is the best horror film ever made.

5/5 stars.

- John Ulmer
Technique that defined an art
This definitely contains **SPOILERS**, and is intended only for those who have seen the film, although it's hard to imagine many of you out there who haven't already seen this remarkable film.

Let's start with what is probably the most amazing scene in the film, the conversation between Norman and Marian in the motel office parlor. Anyone interested in learning how to develop dramatic, and/or psychological tension, should study this scene. Sharp dialog, mood swings, marvelous camera angles and great character reactions permeate the scene. Much of the scene, and it's darkly humorous lines, hint at the truth about Norman and his mother without actually revealing it. For example, as Norman is bringing the tray of food into the office for Marian after an argument with mother, he says, "My mother is ...what's the phrase...she isn't quite herself today". In the parlor while Marian eats, Norman defends his mother with, "We all go a little mad sometimes". And just before Marian leaves the office she tells Norman, "I stepped into a private trap back there. I'd like to go back and pull myself out of it...if it's not too late". The irony being that Marian may have decided to try to escape her trap, but she has already, unknowingly been ensnared in Norman's private trap. Yes Marian, it is too late.

In another sequence while Norman and Marian are talking in the parlor, the camera is at eye level on both characters. Suddenly, when Marian brings up the subject of Norman's mother, the camera angle changes. Norman is now being viewed from a lower angle. We are looking up at Norman and, in the background, his stuffed owl with it's wings spread, clearly in an attack posture. At the same time, we are now seeing Marian at slight downward angle. Norman has become the predator and Marian the prey!

Now, how about lighting? In a scene very near the end of the film, Marian's sister has made her way into the fruit cellar, lit by one bare bulb, where mother sits in a wheelchair. Lila touches her shoulder, the wheelchair swings around revealing mother's well preserved corpse. Lila screams and draws her hand back hitting the light bulb, causing it to swing wildly. The end result is that the remainder of the scene is played out in alternating light and shadow due to the swinging bulb: Lila's terrified face, mother's corpse, Norman running into the cellar in mother's clothes wielding a butcher's knife, Sam running in behind Norman and dragging him to the floor, Norman's face becoming a twisted mask of despair as the knife falls to the floor and the wig slips from his head. It all has the look of a nightmare...macabre, surreal, and sheer genius!

I have always loved Hitch's brand of humor, dark or otherwise. Here are some of my favorites from this film: Marian talking to Sam in the motel room at the beginning of the film, "You make respectability sound...disrespectful". Charlie the used car salesman, speaking to Marian, who is obviously intent on trading in her car, "First time I ever saw the customer high pressure the salesman". Arbogast, the private detective, speaking to Norman at the motel, "If it doesn't gel, it isn't aspic...and this ain't gelling". Norman speaking to Sam, after Sam has implied that Marian may have made a fool of him, "She might have fooled me, but she didn't fool my mother". Lila to Sam, defending her decision to try to talk to Norman's mother, "I can handle a sick, old woman". How about the fact that Norman's hobby is stuffing birds, and in cleaning up mother's mess he stuffs a "Crane" into the trunk of a car. Classic Hitch!

Let me leave you with one last tidbit. In the final scene of the film Norman is sitting in a cell, wrapped in a blanket, and we hear mother's thought that is the last line of the film, "Why, she wouldn't even harm a fly". The scene then dissolves to a shot of Marian's car being dragged from the swamp. Just as Norman's image disappears from the screen, look closely and you will see the face of mother's corpse superimposed over Norman's face for a fraction of a second. One last little (subliminal?) chill from the master! I can see you all rushing to your VCR's now. Enjoy!
Hitchcock and Herrmann
Robert Bloch wrote the original work, Joseph Stefano adapted it into a tight screenplay but it was Alfred Hitchcock with the extraordinary complicity of Bernard Herrmann who transformed this lurid tale into a classic, horror masterpiece. The score propels us into the moment before the moment arrives provoking the sort of anticipation that verges on the unbearable. The fact that the key scenes have become iconic film moments: copied, imitated, emulated and parodied, have not diminished its impact, not really. The anticipation, underlined by Herrmann's strings, creates a sort of craving for the moment to arrive. That doesn't happen very often. No amount of planning can produce it or re-produce it - otherwise how do you explain the Gus Van Sant version - so, the only possible explanation is an accident, a miraculous film accident and those do happen. Everything falls into place so perfectly that even the things that one may argue are below the smart standard of the film, are needed, the film without every frame is not quite the film. Try to turn away after the climax during Simon Oakland's long explanation. You can't. I couldn't. Partly because you know you'll soon be confronting those eyes, that fly, the car...
Legendary, in both a good and a bad way
Not much to be said about this that hasn't been said before. Only the second Hitchcock film I've ever seen, and so far there isn't a single positive thing that's been said about him that I can disagree with. Calling someone 'The Master' is terminology that I would usually frown upon as being too dismissive of other greatly talented people, but after witnessing the directing, the cinematography, the subtle performances, the inimitable atmosphere and the quiet genius of this masterpiece, I find myself forced to agree. The notorious shower scene manages to be shocking, brutal and understated all at once, and its infamy on the pages of motion picture history is well-deserved. Anthony Perkins is subtly explosive, like a match waiting to be struck. He plays Bates with a boyish, grinning charm that generally belies his chilling insanity. Also worthy of mention is Bernard Herrmann's incredible score, possibly one of the best I've ever heard.

In a curious way, the one thing I find disagreeable about this movie is, indeed, its legend. I cannot imagine how much I would have enjoyed it had I not known any of the plot twists beforehand, and could have gone into it unknowingly. Still, perhaps somewhat paradoxically, the legend is completely due, because this film's merit becomes obvious when you consider that first-time viewers of my generation (I'm 21 years old), who have become inundated with the blood, gore and overblown special effects of today's blockbusters, can still find its subtle ingenuity chilling and scary in equal measure. Beautiful. 10/10
Hitchcock's best film ever
Let me start out by saying that I am a fan of Alfred Hitchcock. This movie, in my opinion, is his best work ever. But I think that Hitchcock owes a lot of his success to his long time partner Bernard Herman, who scored the music for many of his films including this one. Anthony Perkins filled the shoes of Norman Bates perfectly. He didn't overact, and he didn't underact. Janet Leigh wasn't the best person to portray Marion, but she played the part fairly adequetly. However, I liked Vera Miles the best in this film. Hitchcock had her in mind for the role after she had to quit working on his last film "Vertigo". She was probably the key role here, since she was the one who discovered Norman's terrifying secret. Tony Award-winning actor Martin Basalm was terrific in his brief appearance as the private detective trying to track Marion down. John Gavin was ok, but nothing to brag about. Hitchcock made a wise decision in filming the movie in black and white, and made history when he demanded that no one be let into the theater after the movie started in order not to cause confusion. This is the most brilliant film I have ever seen, and I give it 5 stars (out of 5).
If there is one single film that can claim to be THE best of all time, then this is it....
*POSSIBLE SPOILERS*, if there can be in a film as famous as this....

Psycho probably has the most famous (and/or infamous) scene in the history of movies - the shower scene. The shower is in the Bates motel, run by Norman Bates, and his 'mother'. Even today, if someone looks freaky, many still say he looks like Norman Bates. If someone has a clingy or naggy mother, many a Norman Bates allusion is referred to. Psycho has become etched into modern culture and become a household name. Why?...because the film was a milestone, not just of gore, but of cinematic effect and technique. Psycho is, all at the same time, taut, mesmerising and terrifying. It is a textbook example of how to captivate an audience, and then shock them right at the very end.

The film starts by introducing a love-lorn and frustrated heroine, complete with a dead-end job, and a relationship that needs a jump start. The audience is introduced to her and her troubles; we follow her, and feel for her - then she is murdered right in front of us. The array of characters introduced in the first half of the film - the arrogant 'Texan' guy who flashes forty thousand dollars, the bumbling boss, the suspicious highway cop, the dumbfounded used-car salesman - all amount to nothing. This pioneering change in plot has the same effect as a tree which you collide with after pulling up the handbrake on a speeding car.

Then enter Milton Arbogast, the private detective who begins the search for our slain heroin Marion Crane. He investigates the Bates Motel and finds something amiss. He reports the news to the worried boyfriend and sister of Ms Crane - they all develop some trust and repartee. Then he's dead. Then enter the local town cop who doesn't believe the boyfriend's and the sister's suspicions, while all the time the audience knows what really happened and why people are dying at the hands of an 'evil old lady' who the disturbed Norman Bates is desperate to protect.

The whole film was a totally new way of writing a plot, and of manipulating a storyline. The supposed lead character is killed early on, a replacement protagonist suffers the same fate; and all the audience are then left with are the utterly desperate and confused Lila Crane (sister) and Sam Loomis (boyfriend), who have only their suspicions and fear to drive them toward finding the truth. The audience feels for them, because we know that Norman's mother murdered Marion Crane.....or at least we think we do.

Psycho only runs for around an hour and a half. It is the tautest thriller I've ever seen. Not one scene is wasted on being filler. Each scene is purposeful, powerful, and extremely economical. The pace is cracking when it needs to be, and slow and hypnotic when emotion and fear need to be emphasised; note the long scene as Norman Bates cleans up the murder scene - this allows the horror of what just happen sink in.

The script is rattling, with some flourishing dialogue that even overshadows some wooden acting from John Gavin. The cinematography is brilliant, with great use of lighting and shadows. And, of course, the directing is just simply cutting edge, even for today. Anthony Perkins does a perfectly chilling job as the psychotic Norman Bates, and Martin Balsam is a completely natural private eye. And famously, to complement these ground-breaking plot twists, are the chilling and perfectly executed murder scenes.

And finally, the chilling revelation of what really happened at the Bates Motel is kept right until the blood-curdling end, and is realised through a ear-splitting scream, a rotting skull, and a naked swinging lightbulb; a scene which leaves the audience shocked, terrified and thrilled after such a roller-coaster of a movie. For those few people to whom the 'spoliers' warning at the start of this piece applies, go and rent this film. It is simply a must for everyone. It is a defining moment of modern popular culture, and as such if there ever was a convincing candidate for the greatest movie ever made title, well then this is it.
The More I See This, The Better It Gets
When I watched this for the first time in over 30 years, I was surprised how little action there was since I had remembered this as some intense horror movie. Of course, I was young and more impressionable so I guess I just remembered those few dramatic, sensational scenes such as Janet Leigh murdered in the shower and the quick other murder at the top of the stairs. Basically, that was about it, action-wise, BUT I have no complaints because the more I watch this film, the more I like it. It has become my favorite Alfred Hitchcock movie, along with Rear Window.

I mention the lack of action, and blood, too, because younger people who might be watching this for the first time are not going to see the kind of horror film they're accustomed to seeing. A generation back, movie makers tended to build up characters and suspense, so there was a lot more storytelling and less action than you see today. Also, this movie doesn't have the shock value today for audiences, either, not after years of Freddie Krueger-type blood-and-guts seen in the past 30 years.

But, what you WILL see in this movie is (1) superb acting; (2) a fascinating lead character; (3) excellent photography, and (4) a bizarre story.

"Norman Bates" is one of the most famous fictional names in film history, thanks to this film and the great work portraying him by Anthony Perkins. "Norman" is a nutcase, as it turns out and the more you know all about him, the more fun it is to study Perkins and his character "Norman" in subsequent viewings. He really has the guy down pat. However, it isn't just Perkins' film; the supporting is just fine with Leigh, whose figure is still awesome no matter how many times you see it; Martin Balsam as the private detective; Vera Miles and John Gavin. Everyone contributes.

What makes me really enjoy this movie is the cinematography. I bought this on VHS when it became available on widescreen. Later, of course, I got the DVD. Each time, I appreciate John Russell's camera-work and Hitchcock's direction more and more. I wonder if this isn't Hitchcock's best job of directing as his camera angles and lighting are outstanding. On the DVD, the blacks, whites and grays are just super and the famous house next to the Bates Motel never looked better. That house really looks eerie.

The sound effects in here don't hurt. When Balsam is attacked, the accompanying frightening music never fails to bring chills down my spine. The music literally "screams" at you.

I went 35 years between showings but now have watched this five times in the past four years. I love it and look forward to seeing it again. Many people here think this is Hitchcock's greatest film. Add me to that list.
I'm a little bit psycho for Alfred Hitchcock's Psycho. It's amazing!
Some critics believe 'Psycho' to be Director Alfred Hitchcock's Magnum opus. In my opinion, it's an masterpiece that set a new level of acceptability for violence, deviant behavior and sexuality in American films. Even before the 1960's, Alfred Hitchcock was already famous as the screen's master of suspense and perhaps the best-known film director in the world at the time. This movie just add to it with subliminal themes, subtext and images. The center theme of Psycho is the concept of multiplies identifies where characters are challenge to live through life under multiplies roles. Marion Crane (Janet Leigh) is just that type of a character. She is unhappy in her job at a Phoenix, Arizona real estate office and living in a double life with her affect with strong will Sam Loomis (John Gavin). One day, Marion is given money to be deposited in the bank. Instead of depositing it, Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her love affair Sam. Rather than meeting Sam, she finds a nervous charming innkeeper Norman Bates (Anthony Perkins) at the Motel, she was staying. He was control by his over demanding mother. Anthony Perkins gives a subtle performance here. She is taken by Norman Bates innocent charm, as she sees him as the fragile alter-ego of Sam. In many ways, Norman Bates and Sam have very similar stories, the only different is that Norman can't live without her mother, while Sam can. There's hardly a film fan alive who doesn't know what happens next, as the shower scene is probably the film's most famous sequence. In a way, the shower scene was like baptismal waters. Marion had decided to go back, come clean, and take the consequence, so when she stepped into the bathtub it was as if she cleaning herself of sin. I like the fact that Marion's underwear is white before the theft, and black after. Feeling in rage that Marion might steal Norman away from her when Marion suggests to Norman that he put his mother in a mental hospital, her mother strikes Marion, only for Norman to cover it up. When Marion goes off missing, her personality live on with her double, twin sister Lila Crane (Vera Miles) who finds herself staying at the Bates motel, just like her long-lost sister. I love how Hitchcock utilized and probably was the first to establish the writing technique of the false protagonist. The false protagonist is when the viewers are introduced to a character that supposed to be the main character, only to be removed from the story either by death or other means early in the film. By removing Marion Crane from the story, early on. It might offend Janet Leigh's fans, but Alfred Hitchcock's know what's for the best. One of the best image scenes are the mirrors in why show that the characters have multiply personality. Another running theme is the money. The stolen money that Marion carries about with her represents her dirty little secrets. Hitchcock goes so far as to symbolically link this pile of money to a pile of feces. Every talk about money is weaved into dialogue about how filthy it is. While the showing scene can be seen as erotica for Norman Bates; Norman Bates mother sees it as filth. Contrary to a widely told tale, Hitchcock did not arrange for the water to suddenly go ice-cold during the shower scene to elicit an effective scream from Leigh. But Hitchcock did tested the shock value of Mother's corpse by placing it in Leigh's dressing room and listening to how loud she screamed when she notice it there. Compare to Modern Day Slasher films, this film is really tame of violence. The film was known to be nauseating for some viewers at the time, even with it being shot in black and white. The novel is more brutal than the film version. It had a beheading no less in it. Alfred Hitchcock cut it out, and did stabbing instead. Even with its graphic nature, the "shower scene" never once shows a knife puncturing flesh. Alfred Hitchcock desire to prevent the shower scene from being too gory so he film the movie in black and white, while also trying to cut cost down. I think, the biggest reason why it is in black and white is because it's better for horror films with the use of shadows. While it is tame, the movie is still disturbing. Hints why the film still have the Rated R label. What might bizarre is how often the film talks about eating. Considering that the writer of the original book, Robert Bloch based his story loosely upon the activities of serial killer and cannibal Ed Gein, some of these constant references to eating could simply be a sly reference to cannibalism. One subliminal theme of Psycho is when Norman chats to Marion about his hobby of taxidermy. It's remind us another Hitchcock classic movie 1963's The Birds. By having Marion eat like a bird, and having a last name like a bird. No wonder why Norman wants to eat her all up, but Norman couldn't hurt a fly or could he. That's actually a form of symbolism. The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled "The Murder" is amazing. It works for the film so well. This film sequels that followed in 1983 are just mediocre at best. There was also a 1998's remake of the film with Director Gus Van Sant that was God awful. 2012 and 2013 was a big high for Psycho fans as Bates Motel started to aired on A&E. Anthony Hopkins star in 2012 film Hitchcock about filming the movie, and also a HBO telefilm call 'The Girl" with Toby Jones as Hitchcock during the filming of this movie, Psycho.
Hitchcock At His Very Best
Psycho is the all time greatest movie ever made in movie making history. It has this special style that could only be achieved through the eyes of Alfred Hitchcock and the excellent actors in the film. There is this mysteriousness that presides over the movie, and that is what adds to the overall feeling from Psycho. Hitchcock's eye for great suspense really does the trick for this movie. He also chose to go Black and White in this movie, instead of color for his own stylistic purposes (and to hide the redness of...yeah.) The B&W really makes the movie more "scary". No one can forget the Bates Motel or the mysterious house on the hill behind it with "that person" in the window. Anthony Perkins as Norman Bates also has his best performance of his career in this movie, bringing the character of Norman Bates to life. Even 40 years later, no movie is able to stand up to Psycho or make a larger impact on world culture. Truly the best movie of all time, definitely a 10/10.
Brilliant Classic!
It's hard to think of a thriller more well known than Alfred Hitchcock's Psycho! Unfortunately the films popularity may spoil the shock value. Upon seeing the film for the first time I thought knowing the outcome may make the experience less enjoyable. This was not the case! I now see why Psycho is considered masterpiece! Hitchcock is a master of suspense. As the film begins, the plot immediately makes the audience uncomfortable. As Marion Crane makes off with the money, I had no idea what would happen next. Hitchcock adds in various ideas that lead me astray and even stress me out. When the police officer was questioning Marion and began to follow her, I felt her anxiety. Also when she was rushing the car salesmen I felt uneasy. This is great film-making. The emotions that Hitchcock draws out don't exactly correspond with the direct plot. After all we haven't even met the infamous Norman Baits yet and already I am on the edge of my seat with anticipation.

We arrive at Baits Motel as the rising action rolls into the main plot. What an astounding actor Anthony Perkins is! Perfect casting for a psychopathic mamma's boy! He is an actor that truly understands his role. When he peers through the hole in the wall, spying on Marion you can almost tell the moment when the mother personality clicks on. The only thing that I could have found more satisfying would have been if we saw Norman doing his mothers voice.

I love Hitchcock's style. When Marion was stopped by the police officer the way he shot the actors close-up really gave me the impression of invaded personal space and added to my discomfort. He also had great techniques for moving the camera into may different positions without cutting. When the camera follows Norman Bates up the stairs to his mothers room the camera does a 360 as it climes and we are left with the perspective of a bug on the wall.

Psycho is a classic horror/thriller that I will watch again. It provides an outstanding cast and fantastic cinematography. The timeless score that accompanies the film could not be any better.
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