PSYCHO
US, 1998, 105 minutes. Colour.
Vince Vaughn, Julie Anne Moore, Anne Heche, Vigo Mortensen, William H. Macy, Robert Forster, Philip Baker Hall, Chad Everett, Rance Howard, Rita Wilson, James Remar, James Le Gros.
Directed by Gus Van Sant.
Purists devoted to Hitchcock's classic have been horrified with the idea of Gus Van Sant remaking Psycho, in colour, using the original screenplay and Bernard Herrmann's famous score. In fact, there have been three sequels to Psycho so it is not as if it has not been imitated, even re-made (and with Anthony Perkins).
Rather than a re-make, this version is a re-enactment, something that is always done in theatre as a new cast takes the place of the old cast. It is the same play, but the performers bring their own presence, intonations, body language.
Van Sant has followed Joseph Stefano's screenplay fairly closely, sometimes making it a little more explicit sexually and violently than Hitchcock was able to do in 1960. He has also had it photographed, especially in the Phoenix and highway scenes, to look like a film that was made in colour in those days.
The cast makes a difference. Vince Vaughan is solid and ordinary looking, relying on a silly giggle to suggest all is not well. Anne Heche looks more worldly-wise than Janet Leigh and Julianne Moore is a bit tougher than Vera Miles. Viggo Mortensen as Sam Loomis is a distinctly earthy improvement on the stolid John Gavin. William H, Macey is very good as the investigator Arbogast (and his death is just as shocking as in the original).
Purists will prefer the original (and why not?). But younger audiences and those interested in performance will be interested in this version (and why not?).
1. The classic status of Hitchcock’s Psycho? Black and white? The cast? The Bates Motel? Bernard Herman’s score?
2. The status of this film? Colour, the use of Herman’s score? The comparisons with the cast? The effect of the colour photography? In terms of drama, suspense? The poor critical reception?
3. The work of Gus Van Sant? His decision to remake Psycho in this way? The condemnations?
4. The cast? Vince Vaughn in comparison with Anthony Perkins? Anne Heche in comparison with Janet Leigh? Age, build, appearance? Norman Bates and his maniacal grin, laugh? Marion Crane and her age? Julie Anne Moore and Vera Miles? Vigo Mortensen and John Gavin? William H. Macy and Martin Balsam? The effect of the comparisons?
5. The credits, the split words? Herman’s score? The cityscape of Phoenix, Arizona? The entry into the hotel, Marion and Loomis?
6. The introduction to Marion Crane, her relationship with Loomis? Her going back to work, the headache? The chats with Caroline at the office? The boss, coming in with Tom Cassidy – and his leering? The issue of the money? Marion and her headache, taking the money, the trust of Mr Lowery? Her taking the money, in the car, Lowery and Cassidy passing in the street?
7. Marion and her drive, her nervousness, being pulled over by the officer, the interchange, her edginess? The policeman following her, going to the car sales? The salesman and his earnestness? Her haste, buying the new car? The policeman and seeing her sleeping on the side of the road?
8. Driving, tired, going to the Bates Motel? The visual impact of the Bates Motel – in colour, the neon lights? The initial encounter with Norman Bates? Vince Vaughn, tall, well-built? His laugh? Hospitality? Audiences suspicious of him or not?
9. Mrs Bates, in the window? Her movement? Norman and his conversations with her? Signing in Marion, her false name in the register? The number one cabin? Norman offering the meal, bringing it, in the room, the stuffed birds? His explanation of taxidermy? His beginning to speak, his mother’s madness? Marion and her faux pas? Edgy?
10. The hole in the wall, Norman’s sexual behaviour, spying? Marion and her having the shower, Mrs Bates coming in? The shower scene and the almost exact replicating of Hitchcock’s filming and editing? The impact of the blood, colour?
11. Norman, mopping up the blood, transferring the body, the car in the water? The money in the newspaper, in the rubbish?
12. Leila, her coming to Loomis, her aggressive nature? Wanting to find out about Marion? Abogast and his following, the discussions with Leila and Loomis? Loomis and his bewilderment?
13. Abogast, his visit to the motel, his interrogations of Norman? Norman and his reaction, his answers, his lies? Abogast and his wanting to talk to Mrs Bates? Phoning Leila, going into the house, the stabbing and his death and fall – and the using of Hitchcock’s style for the killing? Leila and Loomis and their waiting?
14. Leila, her impatience? The decision to go to the Bates Motel? Posing, going into the room? Loomis and his engaging Bates in conversation? Leila and her going into the house, the search, Norman realising she was in the house? His pursuit? Leila, the basement, the discovery of Mrs Bates’s corpse? Her screaming? Norman and his attack, Loomis and the fight? The overpowering of Norman?
15. The sheriff, his wife, Loomis and Leila visiting him? Their knowing Norman, the explanation of the story, his mother, the lover, the poison?
16. Norman in custody? The psychologist? Norman reverting and being overtaken by the personality of his mother? Explaining everything that had happened? Leila and Loomis and their listening? The doctor’s explanation of the psychological state?
17. The final scene of Norman, becoming his mother, sitting alone in the cell?
18. The impact of this film in itself – and in comparison with the original?
