As I teach a film theory class and explore the various film
movements throughout history, I have also been tackling the various novels and
plays that these films have been based on. Robert Bloch’s Psycho came up on such a list, so I dug into
the 1959 novel that launched Hitchcock’s legendary thriller. Having seen the
film countless times (and the unfortunate remake from the 1990’s), the plot of
the novel comes with no surprise.
 |
| Click the picture to purchase and support. |
Bloch creates a classic thriller, allowing the reader to
enter the minds of nearly every major character and to understand their
motivations. In print, the reader grows to understand Marion, her plight, and
why she takes off with a large sum of money. We are privy to her moral crisis,
to the sly and shifty sale of cars, and to her determination to set things
right before her untimely murder. We are present in a different way when she
accidentally toy’s with Norman, prying at his maternal relationship without
fully knowing that such actions will spell her doom.
Similarly, Norman comes across as more the victim. An active
player yes, but one covering for his mother despite the truth. He can’t sleep
at night, he struggles with covering for her murder, and he lacks the wry smile
of his silver screen portrayal. This Norman is not the glowing, attractive
model of Anthony Perkins fame, but instead presents a classic oddity. Large and
awkward in both social graces and appearances, Norman is not a charmer—instead he
looks every bit the crazed creature, the one that might unnerve you.
Either way, the novel is terse, fast paced, and a great
compliment to the proliferation of media surrounding the story of Normal Bates
and company.
No comments:
Post a Comment