People have been looking behind their shower curtain when they enter the bathroom ever since Psycho swirled its way into movie theaters in 1960. This irrational fear of lurkers in the bath and scary psyches began with the first ever slasher film: Psycho by Alfred Hitchcock. Throughout the years, Psycho never lost its potency as the movie that created the horror genre as we know it. The low-budget “just for fun” film project that Hitchcock had originally intended as his last “kick” in his career as a director changed the entire business and ended up being Hitchcock’s defining piece. Pre-Psycho scary movies had been slow in pace and conservative in content. Psycho’s director, Alfred Hitchcock, knew what the ‘norm’ was for filming because he
…show more content…
There is a reason Hitchcock made it nearly impossible for anyone to enter a movie theatre showing of Psycho after the opening credits had rolled: the movie was too intensive. Every second counted. There was no wasted time or filler content. The director also drew attention to the film by including ‘controversial’ content that was considered to have ‘crossed the line.’ Hitchcock’s Psycho included one of the longest murder scenes in cinema history and “also broke all film conventions by…photographing a toilet bowl and flush in a bathroom” (Psycho 1) which was a first for American films. The ending is one not one viewer expected, and in the words of Andrews, the film’s ending puts a “knife in the solar plexus of the 1950’s, the decade of family values, of America’s social and domestic rebuilding” (3). The way that Psycho broke rules made it all the more well received. Psycho was a breath of fresh air for the horror community, which is why it became an everlasting classic.
The music in sounds used in Psycho instills even more fear in the movie by using scores of chilling violins and cello sections that gnawed at the audience’s nerves. Sound has an effect on everybody’s daily life and leaves a lasting imprint. Hermann’s score for the Hitchcock film conveyed a “sense of the abyss that is the human psyche, dread, longing, regret…” (Rebello 3). Hermann’s score was exactly what Hitchcock had been looking for.