🎦 Psycho full movie HD download (Alfred Hitchcock) - Thriller, Mystery, Horror. 🎬
Thriller, Mystery, Horror
IMDB rating:
Alfred Hitchcock
Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Martin Balsam as Milton Arbogast
John McIntire as Deputy Sheriff Al Chambers
Simon Oakland as Dr. Fred Richmond
Vaughn Taylor as George Lowery
Frank Albertson as Tom Cassidy
Lurene Tuttle as Mrs. Chambers
Patricia Hitchcock as Caroline
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Storyline: Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.
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Creepy, Excellent, and Amazing Horror Flick! Best Thriller Ever!!
The first time I saw this movie it scared me incredibly. I have been an avid fan of the "Scream" movies since they first came out, and I must say, this movie surpasses them to be #1 on my favorite horror movies.

I wasn't expecting many scares from a movie made in 1960, but once again, Alfred Hitchcock proves why he is the Master of Suspense.

I don't know how the upcoming remake can accurately mimic the original's creepy and frightening feeling, but I'll still be there on opening weekend. BTW, make sure you watch the original BEFORE watching the remake.

I know you've heard it a thousand times, but if you haven't seen this movie, MAKE IT A TOP PRIORITY! It's simply incredible.
A Master piece
I have been reading some of the comments about Psycho and was shocked to read that some of the viewers thought that it was rubbish. You have to realise that for its day it was a shocker. It broke all the conventions of the horror films in that day. Every shot was carefully thought out, for example, because of film laws, Hitchcock couldn't show the knife touch the body in Shower scene, but the way that it was shot made you believe that you were seeing it.

Many people prefere the new version because it is in colour. Colour films had been around for quite some time when the film was made. Hitchcock decided to make it in Black and White for a reasion. You have to agree that it makes the film very scary. The shadows are enhanced on the house and Norman's face appears to be horribly hollow, just like the final image of his mother.

In my opinion, the new version is good, but the use of colour changes the initial image that Hitchcock wanted to put across.
I'm a little bit psycho for Alfred Hitchcock's Psycho. It's amazing!
Some critics believe 'Psycho' to be Director Alfred Hitchcock's Magnum opus. In my opinion, it's an masterpiece that set a new level of acceptability for violence, deviant behavior and sexuality in American films. Even before the 1960's, Alfred Hitchcock was already famous as the screen's master of suspense and perhaps the best-known film director in the world at the time. This movie just add to it with subliminal themes, subtext and images. The center theme of Psycho is the concept of multiplies identifies where characters are challenge to live through life under multiplies roles. Marion Crane (Janet Leigh) is just that type of a character. She is unhappy in her job at a Phoenix, Arizona real estate office and living in a double life with her affect with strong will Sam Loomis (John Gavin). One day, Marion is given money to be deposited in the bank. Instead of depositing it, Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her love affair Sam. Rather than meeting Sam, she finds a nervous charming innkeeper Norman Bates (Anthony Perkins) at the Motel, she was staying. He was control by his over demanding mother. Anthony Perkins gives a subtle performance here. She is taken by Norman Bates innocent charm, as she sees him as the fragile alter-ego of Sam. In many ways, Norman Bates and Sam have very similar stories, the only different is that Norman can't live without her mother, while Sam can. There's hardly a film fan alive who doesn't know what happens next, as the shower scene is probably the film's most famous sequence. In a way, the shower scene was like baptismal waters. Marion had decided to go back, come clean, and take the consequence, so when she stepped into the bathtub it was as if she cleaning herself of sin. I like the fact that Marion's underwear is white before the theft, and black after. Feeling in rage that Marion might steal Norman away from her when Marion suggests to Norman that he put his mother in a mental hospital, her mother strikes Marion, only for Norman to cover it up. When Marion goes off missing, her personality live on with her double, twin sister Lila Crane (Vera Miles) who finds herself staying at the Bates motel, just like her long-lost sister. I love how Hitchcock utilized and probably was the first to establish the writing technique of the false protagonist. The false protagonist is when the viewers are introduced to a character that supposed to be the main character, only to be removed from the story either by death or other means early in the film. By removing Marion Crane from the story, early on. It might offend Janet Leigh's fans, but Alfred Hitchcock's know what's for the best. One of the best image scenes are the mirrors in why show that the characters have multiply personality. Another running theme is the money. The stolen money that Marion carries about with her represents her dirty little secrets. Hitchcock goes so far as to symbolically link this pile of money to a pile of feces. Every talk about money is weaved into dialogue about how filthy it is. While the showing scene can be seen as erotica for Norman Bates; Norman Bates mother sees it as filth. Contrary to a widely told tale, Hitchcock did not arrange for the water to suddenly go ice-cold during the shower scene to elicit an effective scream from Leigh. But Hitchcock did tested the shock value of Mother's corpse by placing it in Leigh's dressing room and listening to how loud she screamed when she notice it there. Compare to Modern Day Slasher films, this film is really tame of violence. The film was known to be nauseating for some viewers at the time, even with it being shot in black and white. The novel is more brutal than the film version. It had a beheading no less in it. Alfred Hitchcock cut it out, and did stabbing instead. Even with its graphic nature, the "shower scene" never once shows a knife puncturing flesh. Alfred Hitchcock desire to prevent the shower scene from being too gory so he film the movie in black and white, while also trying to cut cost down. I think, the biggest reason why it is in black and white is because it's better for horror films with the use of shadows. While it is tame, the movie is still disturbing. Hints why the film still have the Rated R label. What might bizarre is how often the film talks about eating. Considering that the writer of the original book, Robert Bloch based his story loosely upon the activities of serial killer and cannibal Ed Gein, some of these constant references to eating could simply be a sly reference to cannibalism. One subliminal theme of Psycho is when Norman chats to Marion about his hobby of taxidermy. It's remind us another Hitchcock classic movie 1963's The Birds. By having Marion eat like a bird, and having a last name like a bird. No wonder why Norman wants to eat her all up, but Norman couldn't hurt a fly or could he. That's actually a form of symbolism. The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled "The Murder" is amazing. It works for the film so well. This film sequels that followed in 1983 are just mediocre at best. There was also a 1998's remake of the film with Director Gus Van Sant that was God awful. 2012 and 2013 was a big high for Psycho fans as Bates Motel started to aired on A&E. Anthony Hopkins star in 2012 film Hitchcock about filming the movie, and also a HBO telefilm call 'The Girl" with Toby Jones as Hitchcock during the filming of this movie, Psycho.
A Chilling Classic.
The first time I saw Psycho, I watched the first 20 minutes and stopped the tape. I thought it was boring. But, alas, I rented it again a few weeks ago and I didn't like it. Didn't like it at all. I bloody loved it! Psycho is a freakin' masterpiece! It is easily Alfred Hitchcock's best film, and it is definitely an unforgettable chilling classic. Anthony Perkins was brilliant as Norman Bates, I will certainly look out for more of his work in the coming months. Janet Leigh was also very impressive, she was a real gem of Psycho.

So, don't make the same mistake I did, watch this classic today, and I guarantee you'll never forget it.

Rating: 10
A Hitchcock masterpiece—thanks to Bernard Herrmann
"Psycho" ranks second on a list of Alfred Hitchcock's four masterpieces, following "Vertigo" and followed by "North by Northwest" and "Rear Window," which ranks number four only because it lacks a Bernard Herrmann score. While Hitch's camera is always the best feature of his films, Herrmann is the artist who puts three of them over the top and into the realm of true greatness—setting them beyond such near-great movies as "Notorious" and "Strangers on a Train," which both had good scores, but nothing like the sublime and haunting music of this film. There is no underestimating Hitchcock, nor the work of Janet Leigh and Anthony Perkins, who play the film's two main characters; but without Herrmann this could not have been a great movie.

The opening scene is the best place to appreciate both Herrmann and Hitchcock. Joseph Stefano's script is extremely well-structured and it was his idea to make Marion Crane the story's main character, before switching over forty minutes later to Norman Bates. (In the original novel, Robert Bloch dispatches Mary Crane much sooner.) But his dialogue is often stilted, and the opening scene, where Marion and Sam Loomis (John Gavin) share a lunchtime tryst in a cheap hotel, is badly written. The fault is made worse by Gavin, whose performance is stiff and awkward throughout, nowhere more than here. Yet this scene is among the glories of the movie, with the camera, the music and Janet Leigh's performance all giving it an aching poignancy that haunts our minds long after the film is over. Our sense of Marion's longing and frustration, which could not be conveyed by Leigh alone, is necessary for us to understand why she commits the rash act of stealing money from her boss's client. Watch how much is conveyed to us by the camera when Marion suddenly rises from the bed. Listen how much is conveyed by Herrmann's music when Sam spreads out his hands in mock-surrender and says, "All right." The scene as written would seem unworkable in other hands; in the hands of Herrmann and Hitchcock (and Leigh) it becomes masterly.

Gus Van Sant's remake, a fascinating failure, helps us appreciate many things about this film, including the performances—even, perversely, the performances of Gavin and Vera Miles, who plays Marion's sister, Lila. Gavin is incompetent and Miles is thoroughly competent, but both have the same effect on us: we don't care about them. Or rather, we would be bored by them if they were doing anything other than solving the mystery of Marion's disappearance. Viggo Mortensen and Julianne Moore give these bland characters more dimension, and in doing so, annoy us with their distracting personalities. Characters that are deliberately featureless often excite our imaginations more than ones that are full of tedious quirks. As is so often true with old movies, their "faults" prove to be virtues when remakes attempt to correct them.

Oddly, I vividly remember everything about the Van Sant film, except for Vince Vaughn's performance as Norman Bates; I only remember that at the time I thought it was excellent. Anne Heche, by contrast, was memorably awful, especially in the one scene that enhances our appreciation of Janet Leigh. When Marion is in her apartment alone (and without any monologue), packing her things and worrying about her mad plan, Leigh conveys all the anxiety in her decision with a minimum of affectation. But Heche not only makes the putrid decision to play the scene as if she is half-amused by her own craziness; she conveys this idea with the maximum of overplaying, as if she were compensating for her lack of dialogue with broad gestures and eye-rolling. Leigh shows us how she feels; Heche announces it over a megaphone.

Anthony Perkins' performance as Norman Bates is among the most memorable ever recorded on film. He is sympathetic and frightening; innocent and malign; horrifyingly unlike us and even more horrifyingly like us. Stefano gives him the best lines; and Hitchcock's camera is preternaturally adept at drawing us into his world when necessary and then coldly keeping us distant when needed. Yet with all this, how much more than a satisfying thriller with a clever trick ending could "Psycho" have been without Herrmann's score to help it transcend itself? Could Norman Bates have haunted us as much with a merely excellent score, like the ones for "Strangers on a Train" and "Frenzy"? Neither Bloch nor Stefano is Shakespeare, and Norman Bates does not live on the page, as Macbeth, Edmund and Iago do. Could Norman Bates, like Shakespeare's characters, live for four-hundred more years? If he survives, it will have been the joint genius of Perkins, Hitchcock and Bernard Herrmann that rendered him, and his story, an immortal nightmare.
Nobody Does It Better Than Hitchcock
Throughout his long and illustrious career, director Alfred Hitchcock thrilled and captivated audiences everywhere, but never before or since as well as he did with the psychological chiller, `Psycho,' which introduced the cinematic world to a guy named Norman Bates. And now-- forty years later-- even in an age of jaded, desensitized sensibilities, graphic horror and the likes of Hannibal Lecter and `American Psycho,' Hitchcock's masterpiece remains, even after repeated viewings, truly frightening and intrinsically disturbing. Just as Ingmar Bergman did with his character of Karin in his landmark film, `Through A Glass, Darkly,' Hitchcock presents a character (Bates) at the psychological crossroads of his life, a pivotal juncture wherein he is required to make a conscious decision that will determine the course of the rest of his life: Whether to reach for the light (and healing), or succumb to the voices beckoning to him from the dark, a place from which there will be no return. Norman, however--like karin-- is incapable of making that decision, and ultimately must adhere to the resolution of the subconscious, which takes him past the point of no return and subsequently beyond the reach of any help forevermore. The rest of the characters in the story-- Marion Crane, Lila, Sam Loomis, Arbogast-- are all mere pawns who happen to be in the wrong place at the wrong time and are forced by fate to help play out the drama of Norman's twisted existence. Janet Leigh gives a memorable performance as Marion, creating a character that was not only destined to go down in cinematic history, but one that would make women everywhere afraid to shower at a motel. Vera Miles is effective as Marion's sister, Lila, and John Gavin gives credibility to Marion's lover, Sam Loomis. Martin Balsam gives a solid performance as well, as Arbogast, the ill-fated Private Eye whose encounter with Norman's mother on the stairs is a scene nearly as famous as that of Marion's `shower.' But the real star of the film is, of course, Anthony Perkins, who gives an Oscar worthy performance as Norman Bates, a character even more chilling than Hannibal Lecter, in that his outward appearance is so deceiving, so contrary to the evil dwelling behind his unintended facade of normalcy. His gentle countenance and boyish charm are so `real' that after being exposed to him it forever after makes anyone and everyone you encounter in your own life suspect. And Perkins plays him to perfection, in arguably the best (and definitely the most memorable) performance of his career. The supporting cast includes John McIntire (Sheriff Chambers), Simon Oakland (Dr. Richmond), Vaughn Taylor (George Lowery), Frank Albertson (Tom Cassidy), Lurene Tuttle (Mrs. Chambers), Patricia Hitchcock (Caroline), John Anderson (Charlie) and Mort Mills (Highway Patrolman). If there was any doubt by the time this film was made, `Psycho' once and for all proved that Hitchcock was, indeed, the Master of Suspense. There have been many imitators before and since, but all of them, good and bad alike, only serve to point out that nobody does it better than Hitchcock. I rate this one 10/10.
This is one to watch again and again.
Alfred Hitchcock's crisp efficiency is not unlike that of Norman Bates (Anthony Perkins), the dutiful son who cleans up after his mother in the landmark thriller "Psycho." Not only is this a masterfully directed suspense chiller, it actually set standards by which all fright films since have been measured. The cinema has produced some great scores, but Bernard Herrmann's music is incredibly enhancing and simply unforgettable, one of the best ever (and it did not even get an Oscar nomination for Best Score). The more I watch "Psycho," the more I prefer the first half, with its sense of dread and a fascinatingly cool Janet Leigh (Oscar nomination for Best Supporting Actress). Hitchcock, of course, never won the Best Director Oscar, but was nominated for "Psycho," one of 1960's biggest box-office hits. Shockingly, Anthony Perkins, in a career-making role and one of the most famous performances in screen history, failed to win a Best Actor nomination -- probably because the performance was too edgy and disturbing (which is what made it great). Some scenes are dated, of course, but this film almost never falters. It gets a "9" (and a very high nine at that) from me.
"A Standard Rave"
Strange what the passage of time can do to a film. I remember seeing portions of "Psycho" when I was very young on local TV; when our household became cable-ready a few years later and AMC showed actual movie classics, Hitchcock's film was regular on the rotation. I remember being shocked and impressed by Janet Leigh's shower demise and Martin Balsam's staircase tumble, but not too wild about the actual narrative. When you're less than 10 years old, you take for granted a lot of the nuances of film-making that only make sense when you're older.

And "Psycho" is almost entirely nuance and technique. From Anthony Perkins' legendary performance as the quiver-lipped, boyish Norman Bates to Bernard Herrmann's piercingly authorative, all-strings score to Hitchcock's intersection of characters (where misunderstandings and misplaced responsibility are the norm), the film is a masterful blend of all the elements that make for quality cinema. And for all its pop-culture influence (as it was one of the first 'psychological horrors' put on screen), "Psycho" remains extremely subtle and surprising, even if you know all the plot turns in advance.

See Marion. See Marion embezzle $44 grand from her boss. See Marion on the run from her own guilt. See Marion make a fateful stop at the Bates Motel. See Norman. See Norman talk about his abusive, domineering mother... (I needn't go any further.)

Since there is really no creative way to write about a film that has already been so extensively written on, I offer some of my personal favorite moments: The head-on shots of Marion (Janet Leigh) driving away from responsibility, listening to dialogues taking place far away, her facial expressions our only indicator of emotion. The judgmental look of the used-car salesman. The way Norman leans his head forward in the parlor, becoming somber and defensive over the word 'someplace.' The shriek of strings as the shower curtain is pulled back. Norman's awkward reaction to Private Investigator Arbogast (Martin Balsam)'s casual questioning. Arbogast's oblivious, seemingly slow-motion ascent of the staircase. Mrs. Bates' closing monologue, delivered in an acrid voice whose tone will literally make your skin crawl.

And there's a lot more. As much as it's been said already, I will have to concur that "Psycho" is probably Hitchcock's masterpiece (I haven't seen all of his films), a near-seamless blend of story, character, irony, and technique.
A Perfect Film.
Perfect films are few and far between and the filmmakers usually have no inkling as to the top-notch quality of work they are doing. Alfred Hitchcock thought it was a good idea to make a new kind of suspense picture back in 1959. Something that would give the audience goose bumps was in order, but bigger bumps must have been the goal. Hitch had to use his TV crew (from his network series "Alfred Hitchcock Presents..." because many film executives didn't like the material. Little did they know that the big Brit was about to make a cinematic milestone and change the way films are structured and material is presented. At the time, PSYCHO was a nasty-spirited movie that led some moviegoers to leave early or stop taking showers. It has held up amazingly well and is far superior to its countless rip-offs.

PSYCHO is perfect because: 1) It is in black and white, not blazing technicolor which would have stained the film for no purpose and made the shower murder less artistic. (Hitch may have went the route of director Michael Powell who became an outcast once his technicolor murder flick PEEPING TOM was seen.)

2)The featured star disappears a third of the way through igniting a new method of scriptwriting and casting. (Hitch made strict stipulations for theatre owners not to allow people into the movie once the picture started in order for this secret to stay secret.)

3)Lesser known actors are used to provide a more authentic feel for the characters. This is so true in the case of Anthony Perkins, not exactly a Cary Grant, who creates a stunningly chaotic portrayal of an abused son/mental madman. (Hitch shoots him from tilted angles and shadowy atmospheres to project Norman Bates' unquestionably distorted state of mind, not to mention his evil grin.)

4) The shower scene, of course. Never before in any film of any kind known to man had people seen such frightening butchery and frank brutality. (Hitch storyboarded each of the 80+ cuts that take place within the 2 minute segment.)

5) Norman Bates' mother, who sits upstairs in the "old house on the hill" and just watches what transpires when she's not taking part in it. (Hitch makes her a mystery until the very end when she is finally revealed to us and to Vera Miles in a masterfully shot turn of a chair.)

6)The set-up and payoff which consists of 40,000 dollars, a device common in most thrillers but new to this kind of psychological terror. (Hitch makes the viewer think the 40 grand will be the staple of importance and plot when it really disappears amidst the horror and has no significance at all.)

7)Finally, composer Bernard Hermann's famed musical score is a pulsating, vibrant piece of gothic composition that matches the story and character actions perfectly. (Hitch and Hermann worked on several films together, none better than this.)

Is there any other question that PSYCHO is one of the top 7 or 8 films of all time? I don't think so. Just look how film history began a slow course towards more independence and honesty after PSYCHO scared everyone into believing this kind of film could be made.

My favorite film!!!
Although it is extremely difficult to pick a single film as one's favorite, this would be my pick if I were forced to choose. No, it is not because it is the most shocking or original film ever made (as if there could be). In 40 years, the film has lost much of what made it revolutionary in 1960. It is simply a fantastic screenplay that keeps me on the edge of my seat at all times.

This is Hitchcock's best work as a director in my opinion. Though he rarely made a bad film, most of Hitch's films are commercially-directed. I think of North By Northwest, Suspicion, Notorious and The Man Who Knew Too Much as examples. Though each is a fantastic film, they are not terribly stimulating too watch and have minimal artistic merit. Psycho, by contrast, is a true work of art. No one could have expected it to be a hit at the time and was a great departure from Hitch's 1950s films. There are no Cary Grants or Jimmy Stewarts here. Just minor stars like Anthony Perkins and Martin Balsam.

The two aspects of Psycho that set it apart are its cinematography and score. There are no panoramic views typical of great cinematographic works. In fact, the whole film has the feel of a B movie. One need only watch the famous shower scene to understand what I am talking about. It is perhaps the most breathtaking 2 minutes ever put to film. Hitch's close up shot of Marion's eye is still jolting today. Imagine watching the scene on the big screen in 1960! I guess what truly sets this film apart is the score. Perhaps no film is as tied to its score. Bernard Herrmann may be the best there ever was at his profession. His scores for Vertigo and Marnie are also top notch.

Just watch this film. If you've never seen it, it will provide a unique and surprising experience. If you've already seen it, watch it again and enjoy Hitch at his best! If you love Psycho as I do, check out Polanski's Repulsion, the French film Diabolique, and Hitch's first talkie Blackmail.
See Also
📹 Psycho full movie HD download 1960 - Anthony Perkins, Vera Miles, John Gavin, Martin Balsam, John McIntire, Simon Oakland, Vaughn Taylor, Frank Albertson, Lurene Tuttle, Patricia Hitchcock, John Anderson, Mort Mills, Janet Leigh - USA. 📀