Psycho (1960)

reviewed by
Max Scheinin


To follow the career of Alfred Hitchcock, is to experience the various ups and downs which are habitual among any artist. The rotound, wickedly droll, master of suspense reached his height in the thirties, fifties and sixties. What comes afterwards, before and in the middle is of little consequence. Does anybody (but me) remember Blackmail, Shadow Of A Doubt, or Frenzy? These soft efforts pale next to what I consider his top four. The Lady Vanishes takes place on a train, revolving around a terrific set-piece in which an older woman dissapears. Psycho follows a nice young fella who killed his mudda and went crazy. Rear Window lets us peep on all those crazy neighbors who leave their curtains drawn during the day AND night. And Vertigo is...something more. It is one of the most haunting, goreously photographed, involving, beautiful films ever commited to screen. It is his least overtly entertaining, yet most rigorously thought provoking. And it grows greater and greater with every viewing. Upon first observations, one can remain unimpressed by his slow pacing, overdramatic music, strange plot, stereotypical characters. Yet, the more and more I see it, the more I love it, and understand what Hitchcock was thinking. I could easily write pages, disecting every few minutes, pointing out loose ends -- what happened to Midge?, why was Madeleine in that window? -- and anybody who wants to hear about this, can subscribe (details below), for I soon plan to gather these ideas into an entire essay. But, as these thoughts have not yet been arranged, polished, perfected, let me say that it remains a mystery why it was so thorougly thrashed upon its initial release, in 1952. (This was, coincidentally, the same year that Sight & Sound conducted its first poll of the ten greatest films of all time. Citizen Kane had been seen so little that it was nowhere in sight -- or sound -- but by 1962, it was at #1, where it has been ever since). I more understand why it hit high spots such as #7 in '82, #4 on the critic's list in '92, and #6 on the director's list in '92. It is ravishing, entertaining, and out of place in Hitchcock's repertoire. It has inspired directors from Steven Speilberg to Tim Burton (for particulars see Jaws and Batman). It is one of the greatest films ever made. You can lump The Lady Vanishes, Psycho, and Rear Window into the same category -- Shadow Of A Doubt goes there too, although it doesn't really live up to the other's complete mastery. They are entertaining peices, well arranged and easy to swallow. The first three are masterpieces, and individually there is much to say -- which will eventually be said. But after so thoroughly discussing his greatest masterpeice, I find that its somewhat easier just to state that they are great films, worth a look. They just don't inspire the same reactions -- they're easier to deal with. To quote the man himself, to me, the cinema is not a slice of life, but a piece of cake.

The Lady Vanishes: A+
Psycho: A+
Rear Window: A+
Shadow Of A Doubt: B+
Vertigo:A+

- Max Solovitch Scheinin Read more of Max's work -- reviews, essays, theories, links -- @ http://www.garfieldlib.com/yanews/july97/max/max.html To subscribe to Max's work (includes all essays, theories, thoughts) write him @ solo@cruzio.com with the word "subscribe" in the header. You will receive e-mail on an regular basis, considering that Max is a lazy/busy kid. "We all go a little mad sometimes." - Anthony Perkins @ the Bates motel.


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