Psycho {1960}: I

"𝒀𝒐𝒖 π’Œπ’π’π’˜ π’˜π’‰π’‚π’• 𝑰 π’•π’‰π’Šπ’π’Œ...𝑰 π’•π’‰π’Šπ’π’Œ π’˜π’†'𝒓𝒆 𝒂𝒍𝒍 π’Šπ’ 𝒐𝒖𝒓 π’‘π’“π’Šπ’—π’‚π’•π’† 𝒕𝒓𝒂𝒑𝒔, π’„π’π’‚π’Žπ’‘π’†π’… π’Šπ’ π’•π’‰π’†π’Ž, 𝒂𝒏𝒅 𝒏𝒐𝒏𝒆 𝒐𝒇 𝒖𝒔 𝒄𝒂𝒏 𝒆𝒗𝒆𝒓 π’„π’π’Šπ’Žπ’ƒ 𝒐𝒖𝒕. 𝑾𝒆 𝒔𝒄𝒓𝒂𝒕𝒄𝒉 𝒂𝒏𝒅 π’„π’π’‚π’˜... 𝒃𝒖𝒕 π’π’π’π’š 𝒂𝒕 𝒕𝒉𝒆 π’‚π’Šπ’“, π’π’π’π’š 𝒂𝒕 𝒆𝒂𝒄𝒉 𝒐𝒕𝒉𝒆𝒓, 𝒂𝒏𝒅 𝒇𝒐𝒓 𝒂𝒍𝒍 𝒐𝒇 π’Šπ’•, π’˜π’† 𝒏𝒆𝒗𝒆𝒓 π’ƒπ’–π’…π’ˆπ’† 𝒂𝒏 π’Šπ’π’„π’‰ "

𝐀𝐧𝐭𝐑𝐨𝐧𝐲 𝐏𝐞𝐫𝐀𝐒𝐧𝐬 discusses the Human Predicament with Janet Leigh in 1960β€²s 𝐏𝐬𝐲𝐜𝐑𝐨, directed by the mΓ¦stro, 𝐀π₯𝐟𝐫𝐞𝐝 π‡π’π­πœπ‘πœπ¨πœπ€. Life’s emptiness, the private traps from which we never escape, one’s mother, and other topics are covered. 𝐏𝐞𝐫𝐀𝐒𝐧𝐬, who portrays motel proprietor Norman Bates, delivers a stunning, bravura performance, easily spanning the morass between the eagerness of a lonely man who suddenly finds a companion, and the resignation of one who knows he is utterly beaten.

When a well-intentioned and protective suggestion by Leigh's character (Marion Crane) happens to touch a nerve or two with Norman, quite the sea change in atmosphere transpires. Bates's reaction ranges from the utterly incredulous, to a very nearly open hostility, bordering on outright contempt, to a quasi-reassuring resignation and light-heartedness. Further brilliance from 𝐏𝐞𝐫𝐀𝐒𝐧𝐬, who shows astonishing command and control.

𝐍𝐨𝐫𝐦𝐚𝐧: "I don't mind it anymore." 𝐌𝐚𝐫𝐒𝐨𝐧: "You should... mind it." 𝐍𝐨𝐫𝐦𝐚𝐧: "Oh I do... but I say I don't."

𝑨𝒏 π‘°π’π’”π’•π’Šπ’•π’–π’•π’Šπ’π’? 𝑨 𝑴𝒂𝒅𝒉𝒐𝒖𝒔𝒆?? 𝑷𝒆𝒐𝒑𝒍𝒆 π’‚π’π’˜π’‚π’šπ’” 𝒄𝒂𝒍𝒍 𝒂 π’Žπ’‚π’…π’‰π’π’–π’”π’† "π’”π’π’Žπ’† 𝒑𝒍𝒂𝒄𝒆". 𝑷𝒖𝒕 𝒉𝒆𝒓 π’Šπ’ "π’”π’π’Žπ’† 𝒑𝒍𝒂𝒄𝒆."