Alfred Hitchcocks psycho has been commended for forming the basis for all horror films that followed its 1960 release. It terrified listenings in 1960, and surprisingly, still holds up very well today. The characters in Psycho seem to be connected by a soul of spit personality and the presence of conscience. It is these character parallels that Hitchcock uses to convey his origin of good vs. evil in Psycho.
It is with Marions character that Hitchcock first introduces the capriciousness of a split personality to the audience. Throughout the first quit of the film, Marions reflection is often noted in several reverberates and windows. In the car dealership Marion enters the bathroom in order to generate privacy trance counting her money. Hitchcock, however, uses upper-camera angles and the convenient placing of a mirror to convey the sense of a lingering conscious judgement that makes privacy impossible. (Filmguide 43)
The split personality theme reaches the height of its auspicate power as Marion battles both sides of her conscience age drive on an ominous and seemingly endless road toward the Bates Motel. Marion wrestles with the voices of those that her disgust and disappearance has affected while the audience is compelled to recognize as to why it can so easily identify with Marion notwithstanding her wrongful actions. (...
At Work 85) As her journey comes to an end, the suspicion that Marion feels while at the motel is also felt by the audience. As Marion shudders while hearing Normans mother yell at him, the audiences suspicions are heightened. Hitchcock has, at this point, made Marion a vital link between the audience and the plot.
The initial interaction between Marion and Norman Bates subtly and lento sway the audiences sympathy from Marion to Norman. Hitchcock compels the audience to identify with the quiet and...
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