作业 惊魂记txt 导演阿尔弗雷德希区柯克.docx

作业 惊魂记txt 导演阿尔弗雷德希区柯克.docx

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作业惊魂记txt导演阿尔弗雷德希区柯克

Background

AlfredHitchcock'spowerful,complexpsychologicalthriller,Psycho（1960）isthe"mother"ofallmodernhorrorsuspensefilms-itsingle-handedlyusheredinaneraofinferiorscreen'slashers'withblood-lettingandgraphic,shockingkillings（e.g.,Homicidal（1961）,TheTexasChainsawMassacre（1974）,Halloween（1978）,MotelHell（1980）,andDePalma'sDressedtoKill（1980）-withanothertransvestitekillerandshowerscene）.WhilethiswasHitchcock'sfirstrealhorrorfilm,hewasmistakenlylabeledasahorrorfilmdirectoreversince.

Thenightmarish,disturbingfilm'sthemesofcorruptibility,confusedidentities,voyeurism,humanvulnerabilitiesandvictimization,thedeadlyeffectsofmoney,Oedipalmurder,anddarkpasthistoriesarerealisticallyrevealed.Itsthemeswererevealedthroughrepeatedusesofmotifs,suchasbirds,eyes,hands,andmirrors.

Thelow-budget（$800,000）,brilliantly-edited,starkblackandwhitefilmcameafterHitchcock'searlierglossyTechnicolorhitsVertigo（1958）andNorthbyNorthwest（1959）,andwouldhavebeenmoresuitedforasanextendedepisodeforhisownb/wTVseriesAlfredHitchcockPresents.Infact,thefilmcrewwasfromtheTVshow,includingcinematographerJohnL.Russell.

Themasterofsuspenseskillfullymanipulatesandguidestheaudienceintoidentifyingwiththemaincharacter,lucklessvictimMarion（aPhoenixreal-estatesecretary）,andthenwiththatcharacter'smurderer-acrazyandtimidtaxidermistnamedNorman（abrillianttypecastingperformancebyAnthonyPerkins）.Hitchcock'stechniquesvoyeuristicallyimplicatetheaudiencewiththeuniversal,darkevilforcesandsecretspresentinthefilm.

Psychoalsobrokeallfilmconventionsbydisplayingitsleadingfemaleprotagonisthavingalunchtimeaffairinhersexywhiteundergarmentsinthefirstscene;alsobyphotographingatoiletbowl-andflush-inabathroom（afirstinanAmericanfilm）,andkillingoffitsmajor'star'JanetLeighathirdofthewayintothefilm（inashocking,brilliantly-editedshowermurdersceneaccompaniedbyscreechingviolins）.The90-oddshotshowerscenewasmeticulouslystoryboardedbySaulBass,butdirectedbyHitchcockhimself.

[AsatiricalparodyofscenesfromvariousHitchcockfilms,includingsomefromPsycho,wereincludedinMelBrooks'comedyHighAnxiety（1978）.Theshowersceneitselfhasbeenreferenced,spoofedandparodiedinnumerousfilms,includingBrianDePalma'sThePhantomoftheParadise（1974）andDressedtoKill（1980）,Squirm（1976）,VictorZimmerman'slow-budgetFadetoBlack（1980）,TobeHooper'sTheFunhouse（1981）,JohnDeBello'sKillerTomatoesStrikeBack!

（1990）,MartinWalz'TheKillerCondom（1997,Ger.）,WesCraven'sScream2（1997）,ScottSpiegel'sFromDuskTillDawn2:

TexasBloodMoney（1999）,andtheanimatedLooneyTunes:

BackinAction（2003）,inwhichBugsactsoutwiththefilm'sblack-and-whitefootageandacanofHershey'schocolatesyruppoureddownthedrain.]

Inthisfilm,Hitchcock'sgimmickydevice,termedaMacGuffin（thethingordevicethatmotivatesthecharacters,orpropelstheplotandaction）,isthestolen$40,000fromtherealtor'soffice.MarionCranebecomesasecondaryMacGuffinafterhermurder.

Thefilm'sscreenplaybyJosephStefanowasadaptedfromanovelofthesamenamebyauthorRobertBloch.Remarkably,Bloch's1959novelwasbasedonlegendaryreal-life,Plainfield,WisconsinpsychoticserialkillerEdwardGein,whosemurderouscharacteralsoinspiredthemother-obsessedfarmerinDeranged（1974）,theLeatherfacecharacterinTheTexasChainsawMassacre（1974）,andserialkillerJameGumb（"BuffaloBill"）inTheSilenceoftheLambs（1991）.

[Blochbecameamajorhorrorscreenwriterduringthe60sdecadeandbeyond,responsibleforsuchsuspensefulhorrorfilmsandchillersasTheCabinetofCaligari（1962）-anupdateofthe1919classic,StraitJacket（1964）,TheNightWalker（1964）,TheSkull（1965）,ThePsychopath（1966）,TheDeadlyBees（1967）,TheTortureGarden（1967）,TheHouseThatDrippedBlood（1971）,Asylum（1972）,theshortfeatureMannikin（1977）,andTheAmazingCaptainNemo（1977）.]

LikemanyofHitchcock'sfilms,Psychoissoverylayeredandcomplexthatmultipleviewingsarenecessarytocaptureallofitssubtlety.Symbolicimageryinvolvingstuffedbirdsandreflectingmirrorsareever-present.Althoughit'soneofthemostfrighteningfilmsevermade,ithasalltheelementsofverydark,blackcomedy.Thisfilmwasn'tclearlyunderstoodbyitscriticswhenreleased.HitchcockadmittedthatHenri-GeorgesClouzot'sinfluentialthrillerLesDiaboliques（1955,Fr.）inspiredhisfilm.

Thistautmasterpiecewasfollowedbythreefeaturefilmsequels（nonedirectedbyHitchcock）andotherimitationsorTVfilms:

Title

Director

Comment

Psycho（1960）

Notrateduntil1968,whenanearlyversionoftheMPAAratingssystemrateditM,formatureaudiencesonly;a1984reissuere-ratedthefilmRAlfredHitchcockAnthonyPerkinsasNormanBates

PsychoII（1983）

Note:

Thiswasarecordinterval-23yearsbetweena'I'and'II'picture.RichardFranklinAnthonyPerkinsasNorman,releasedfromamentalhospitalafter22years;Marion'ssisterLilaLoomis（againVeraMiles）protestshisrelease

PsychoIII（1986）AnthonyPerkins,inhisdirectorialdebutAnthonyPerkinsasNorman,25yearslater

BatesMotel（1987）RichardRothsteinTVpilotfilm,withBudCortasBatesMotelmanager

PsychoIV:

TheBeginning（1990）MickGarrisMadeforCable-TVfilm,withAnthonyPerkinsasNorman,HenryThomasasayoungNorman,andOliviaHusseyasNormaBates

Psycho（1998）GusVanSantAnalmost'scene-by-scene'（actually'shot-by-shot'）remake（orreplication）oftheoriginalclassic,thatonlygeneratedinterestfortheoriginalfilm

Thefilm'sfourAcademyAwardnominationsfailedtowinOscars:

BestSupportingActress（JanetLeighwithhersolecareernomination）,BestDirector（AlfredHitchcockwiththelastofhisfivelosingnominations）,BestB/WCinematography,andBestB/WArtDirection/SetDecoration.BernardHerrmann'sfamousandmemorablescorewithshrieking,harpie-likepiercingviolinswasun-nominated.

Whenthefilmwasoriginallyairedintheatersinmid-1960,Hitchcockinsistedinapublicitygimmick（alaP.T.Barnum）thatnoonewouldbeseatedafterthefilmhadstarted-thedecreewasenforcedbyuniformedPinkertonguards.Audiencesassumedthatsomethinghorriblewouldhappeninthefirstfewminutes.Violenceispresentforabouttwominutestotalinonlytwoshocking,grislymurderscenes,thefirstaboutathirdofthewaythrough,andthesecondwhenaPhoenixdetectivenamedArbogastisstabbedatthetopofaflightofstairsandtopplesbackwardsdownthestaircase.Theremainderofthehorrorandsuspenseiscreatedinthemindoftheaudience,althoughthetaledoesincludesuchtabootopicsastransvestism,impliedincest,andhintsofnecrophilia.

TheStory

Thebleak,monochromefilmismademoreeffectivebyBernardHerrmann'ssparse,butdriving,recognizablescore,firstplayedunderthefranticcredits（byindustrypioneerSaulBass）-shownwithabstract,grayhorizontalandverticallinesthatstreakbackandforth,violentlysplittingapartthescreensandcausingthemtodisappear.Thefreneticlinesappearasprisonbarsorverticalcitybuildings.[Thesecriss-crossingpatterns,likemirror-images,arecorrelatedtothesplit,schizophrenicpersonalityofamajorprotagonist.]

Thefilmopenswiththeaerial-viewcamerasweepinglefttorightalongtheurbanskylineof"PHOENIX,ARIZONA"wheresomenewconstructionisinprogress.[Thenumerousreferencestobirdsinthefilmbeginshere,withthecityof'Phoenix'.]Thespecificdateandtimeareemphasizedintitlesinthemiddleofthescreen:

FRIDAY,DECEMBERTHEELEVENTH

TWOFORTY-THREEP.M

Theshotpansacrossmanyskyscraperbuildings,andafteraseriesofnumerousdissolves,randomlychoosestodescendandpenetratedeeperintooneofmanywindowsinacheaper,high-risehotelbuilding-thewindow'svenetianblindsnarrowlyconcealthedingyinterior.There,thecamerapausesatthehalf-openwindow-andthenvoyeuristicallyintrudesintotheforegrounddarknessofthedrabroom.Thecameratakesamomenttoadjusttotheblackinterior-andthenpanstotherightwhereapost-coital,semi-nudecouplehavejustcompletedaseedy,lunch-timetryst.Attractive,single30-ishsecretary,Marion（spellednotwithanAbutanO-signifyingemptiness）Crane（JanetLeigh）,wearingonlyaprominentwhitebraandslipandrecliningbackonadoublebed,iswithhershirtlesslover/fianceeSamLoomis（JohnGavin）whostandsoverher.Inthebackgroundisabathroom（thefirstofthreebedroomswithbathroomsinthebackground）.

Samspeaksthefirstlineofdialogue,referringtotheuneatenlunchfoodonthestand-onmanylevels,shehaslostherappetitefortheirungratifyingrelationshipandmutualpoverty.Ashekissesherandtheyembraceonthebed,theydiscusstheir"cheap"relationshipandimpoverishment,andtheirmanyunresolvedissues:

Sam:

Youneverdideatyourlunch,didyou?

Marion:

I'dbettergetbacktotheoffice.Theseextendedlunchhoursgivemybossexcessacid.

Sam:

Whydon'tyoucallyourbossandtellhimyou'retakingtherestoftheafternoonoff?

It'sFridayanyway-andhot.

Marion:

WhatdoIdowithmyfreeafternoon?

Walkyoutotheairport?

Sam:

Well,youcouldlazearoundhereawhilelonger.

Marion（foreshadowingafuturehotelvisit）:

Hmm.Checkingouttimeis3pm.Hotelsofthissortareinterestedinyouwhenyoucomein,butwhenyourtimeisup.OhSam,Ihatehavingtobewithyouinaplacelikethis.

Sam:

Marriedcouplesdeliberatelyspendanoccasionalnightinac