When larcenous real estate clerk Marion Crane goes on the lam with a wad of cash and hopes of starting a new life, she ends up at the notorious Bates Motel, where manager Norman Bates cares for his housebound mother. The place seems quirky, but fine… until Marion decides to take a shower.
|Release Date||:||June 16, 1960|
|Genres||:||Drama, Horror, Thriller|
|Production Company||:||Paramount Pictures, Universal Pictures, Shamley Productions|
|Production Countries||:||United States of America|
|Director||:||Alfred Hitchcock, Hilton A. Green, Lester Wm. Berke|
|Writers||:||Robert Bloch, Joseph Stefano|
|Casts||:||Anthony Perkins, Vera Miles, John Gavin, Janet Leigh, Martin Balsam, John McIntire, Simon Oakland, Frank Albertson, Patricia Hitchcock, Vaughn Taylor, Lurene Tuttle, Mort Mills, John Anderson, Alfred Hitchcock, Walter Bacon, Francis De Sales, George Dockstader, Harper Flaherty, Lillian O'Malley, Fred Scheiwiller, George Eldredge, Sam Flint, Virginia Gregg, Jeanette Nolan, Frank Killmond, Ted Knight, Pat McCaffrie, Hans Moebus, Helen Wallace, Robert Osborne|
|Plot Keywords||:||hotel, clerk, arizona, shower, rain, motel, money, secretary, corpse, murderer, theft, private detective, proto-slasher|
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...