We’ve been going at this post modern film history course with hammers and tongs for 2 solid months now and we have gotten to the point where we can finally talk about the works of Alfred Hitchcock, who my professor proclaims, is a film genre unto himself I wholeheartedly agree.

What can you say about Hitchcock that hasn’t already been said? he’s the father of suspense, the master of the film edit (you’ll notice in in the infamous shower scene the knife never once touches Janet Leigh’s body but it was cut so quickly and deftly that it gives the appearance of violence.) Also the now iconic film score by Bernard Herrman is sparred down to violins and cellos.

“Psycho” was Hitchcock’s attempt to make a mainstream “B” movie, using black and white stock and shooting the film using a television crew for speed and a documentary-like feel. This wasn’t mentioned by my professor, but “Psycho” wasn’t Hitchcock’s first story choice, according to the legendary Truffaut/Hitchcock interview book, Hitchcock wanted to buy the rights to “Diabolique,” but was beaten out by the severely underrated Henri-Georges Clouzot by a few hours. (Extra credit will be awarded to any of my faithful reading several who sends me a short review of Clouzot’s “Diabolique.” It’s a very chilling movie in itself.)

“Psycho” is a difficult movie to watch with fresh eyes today because the plot twist and the aforementioned infamous shower scene have entered the public consciousness. However, if you do some mental blocking and watch “Psycho” with fresh eyes it is quite a roller coaster. Hitchcock tricks you into thinking for the first third of the film, that “Psycho” is a crime thriller about Janet Leigh stealing the $40,000 from her boss, until she is murdered and the film turns into a slasher flick.

“Psycho” still holds up well in several spots. Anthony Perkins comes across well as a momma’s boy type with the right amount of, ah, swishyness. The final scene where Norman Bates is wrapped up in the blanket in the police station is terrifying especially when they do a quick superimposing shot of his mothers face over his before they fade to the shot of Janet Leigh’s car being towed out of the swamp. Chilling! The underrated John Gavin death scene still comes across as a jolt of terrorizing lighting.

The only bad part of the film is where the police psychologist explains Norman Bates’ actions. This scene was rather clumsily done and caused roars of delirious laughter from the class. As did the scene where Janet Leigh’s car taking it’s time to sink into the swamp. (The Susan Smith case has already completely faded from the public consciousness, I’m supposing.)

Next week is spring break, so there’s no class. But in two weeks in the syllabus: Art Cinema and “Persona!”

jareddriskill