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Buy Psycho 1960 Movie Online 1080p, 720p, BRrip and MOV
Year:
1960
Country:
USA
Genre:
Thriller, Mystery, Horror
IMDB rating:
8.6
Director:
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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Reviews
Hithcock masterpiece in his most accomplished and perfect movie
This famous film with known story tells about Marion Crane(Janet Leigh),she works in a Phoenix(Arizona)office,when his employer trusts her a money.Seeing the opportunity to take the cash and beginning a new life along with her fiancée Sam(John Gavin).Larcenous Marion leaves Phoenix and heads with her car toward California where her lover with debts is owner a store.When is caught in a storm and pursued by a policeman,she leaves the highway and enter to Bates hotel.The hotel with twelve rooms (and 12 showers) is managed by a strange young who seems to be submitted by his overbearing mother,she's leaving into a creaky mansion nearly to hotel.Then,rare thing start to happen.Later a detective named Arbogast(Martin Balsam),her sister(Vera Miles) and Sam(John Gavin) are looking for to Marion,asking help to sheriff(John McIntire).

Psycho was not only Hitchcock's biggest successful movie,but was a phenomenon in its own right.The picture is a magnum opus of the terror genre and its immediate impact and its future influence was enormous and cannot be over emphasised.It's the quinta-essential shocker that initiated an authentic sub-genre about psycho-killers continuing until nowadays.The shower images is one of the most studied ,copied and analysed sequences in cinema history and has obtained a notoriety what exceeds of the movie itself.Terrific performance by Anthony Perkins in an immortal role as Norman Bates and sensational Janet Leigh with Oscar nomination included that was the only one of her career.Inventive and superbly constructed plot,filled with delicious black humor, by Joseph Stefano based on Robert Bloch's novel.The highlight film is,of course,the shower scene,it was made 70 cameras to shot the 45 seconds of footage and the creepy sound effects were realized by stabbing a knife into a melon.Magnificent main titles by Saul Bass,he's usual on Hitcock films.Excellent black and white-Hitch thought it would be gory in colour- cinematography by John Russell.Bernard Herrmann'legendary musical score copied and endlessly imitated aids to create a thrilling atmosphere.Film is directed with exquisite taste and intelligence by the master Hitchcock who makes an impeccable control of every scene and maneuvers your emotions, infusing with a deliciously macabre wit,it makes ¨Psycho¨far superior to the several movies what tried duplicate,these are the following: PsychoII(1983)Richard Franklin,PsychoIII(1986)Anthony Perkins and for cable television:PsychoIV(1990)Mick Garris.Psycho'Hitchcock belongs his best period in the 5os and 60s when he produced his finest work,perfecting the art of suspense in a series of masterpieces,Dial M,Rear widow,Vertigo,North by Nortwest,Birds and specially Psycho what are still studied and copied today.Rating: Indispensable and essential classic movie.
2007-06-26
They cannot make it better!
This movie kept me on the edge of my seat, and made me afraid of the shower. And the music in this movie was incredibly intense. I don't think they can improve on this movie. We don't need to see more of the gory details to know what is happening.
1998-11-29
Horror Fans Who Consider themselves 'Horror Fans' and haven't seen this movie shouldn't consider themselves horror fans.
Psycho is a film that marks its place in movie history. From beginning to end, you are focused, listening to every word they say. But when stuff goes down, you are hiding behind your blanket, trying to protect yourself from what you're about to see. Yeah, it's from the 1960's, but this isn't like a 1960's horror movie. The film is thrilling and violent, but most of all, it's entertaining from beginning to end. With a killer soundtrack, it's no wonder you jump out of your seat when something surprising happens. And, yes. The twist ending is the father of twist endings. It's great. Long story short, see this movie. I recommend it to everyone reading this, and everyone not reading this, still see the movie. It's really good.

10/10
2014-04-05
Brilliant
I just got this film for Christmas.Since it is black and white I thought I wouldn't be interested. How wrong I was. From the start of the film,it grabs you by the throat and drags you into the world of Norman Bates.Although the 'shower scene'has been spoofed in so many other films,seeing it for the first time is truely tense. Don't watch the remake,watch this,and read the book.
1999-12-26
It was a dark and stormy night...
(((((SPOILERS))))

For most people, the most memorable scene in Alfred Hitchcock's PSYCHO, indeed it's most famous scene, is the shower sequence. It has been broken down and analyzed ad nauseam as an example of the fine art of editing. It is a great sequence, but to me the best scene in PSYCHO occurs just before that. Janet Leigh as Marion Crane, on the run from having committed a crime, sits in the parlor behind the Bates Motel's office and discusses nothing and everything with Anthony Perkins as Norman Bates, the motel's lonely proprietor. It is a chat between strangers who desperately need to talk to someone, anyone, but have no one to whom they can confide. It is a beautifully written and acted scene, which serves as the calm before the storm.

For all of its flashiness and sleight-of-hand gore, the shower sequence isn't nearly as effective at showing what a master filmmaker Hitchcock was. It is in the parlor scene that the entire narrative spins around; as the audience is prompted to switch their allegiance from Marion to Norman. Nothing really happens in the scene, other than two characters talking, but how things are said reveals as much as what is actually said. Here Marion comes to terms with her mistake and decides to pull herself out of her "private trap." Norman introduces us, indirectly, to Mother and wins our sympathy, which is vital to the way the rest of the film plays out. The scene very skillfully sets the mood of uneasiness that propels us into the upcoming murder, even as it suggests that Marion is achieving a sense of inner peace. Madness is revealed, danger is suggested, yet the audiences is coolly and cruelly lulled into an almost tranquil state. It is obvious something is coming, but not so soon.

Then the shower curtain is ripped aside and blood begins to splatter.

The measure of a film like PSYCHO is not how cleverly it fools you the first time, but how irrelevant its surprises are to enjoying it time after time. Indeed, compare it to Gus Van Sant's 1998 remake, or even Brian De Palma's 1980 semi-remake, DRESSED TO KILL, and the power of the film is obvious. Van Sant's version, though a scene for scene imitation is barely watchable even once, especially if you are already familiar with the plot; and while De Palma's homage is stylish and intriguing the first time around, its psychology and plot tricks don't stand up on repeated viewings. By contrast, Hitchcock's PSYCHO can be viewed repeatedly with full awareness and appreciation of knowing what is coming up next.

I think an element of Hitchcock's genius is apparent in that he doesn't treat his major plot twist as a just a gimmick. The entire first half of PSYCHO could have been treated as just a shaggy dog story, a prelude marking time until Norman Bates' story takes center stage. But Hitchcock realized that Janet Leigh's story had to be presented with all due gravity, otherwise the shift to Anthony Perkins' story wouldn't be nearly as effective. Neither Van Sant nor De Palma seemed to understand this, especially De Palma who treats the Angie Dickinson scenes in DRESSED with a cruel, condescending sense of humor. Hitchcock's PSYCHO works as a whole, but could very easily have been presented as two independent episodes of "Alfred Hitchcock Presents....." Marion Crane's story is not just a build up (though Hitchcock himself claimed that killing off his leading lady was all meant as a joke on the audience), but as a complete story unto itself, replete with the type of shocking twist ending that was the hallmark of Hitchcock's television anthology. Likewise, the Norman Bates half of PSYCHO, is a complete suspense tale in its own right. The shower scene is the bridge between the two stories, but it is the scene in the parlor that cements the two tales -- and the fates of the two protagonist.

And if you look at PSYCHO as two separate parts of a whole, then Marion's story is revealed to be the more complete of the two. Norman's story, while beautifully done, is essentially a mystery story; Sam, Lila and Arbogast are trying to solve a whodunit: what happened to Marion and the $40,000? The cleverness of Hitchcock and screenwriter Joseph Stefano is that they let us think we know the answer right off the bat, building to a conclusion where it is revealed how completely we have been fooled. In the end, we know little more than Lila and Sam. To some extent, this is the real gimmick of the film.

On the other hand, Marion's story allows Hitchcock to make so much out of so little. He creates tension, even though there is no tangible threat. Marion is on the run with stolen funds, but the theft hasn't even been discovered yet. All of the danger is strictly in her mind: What will happen when...? She is a smart woman who has done something very stupid, but proceeds even as her fears grow and grow. But cinematically the suspense is created out of mundane things: a policeman's face at the car window, rain and windshield wipers slashing across the screen, the glare of on coming headlights. Mix this with the haunting voice overs of accusing voices and Bernard Herrmann incredible musical violence and the effect is hypnotic. But these imagined dangers do not prepare Marian or the audience for the real dangers ahead.

And something has to be said for Janet Leigh. Always overshadowed by Anthony Perkins' iconic performance, Leigh never gets her due (though she was nominated for an Oscar, she lost to Shirley Jones in ELMER GANTRY). But she dominates the first half of the film with a vivid performance that is sexual, humorous and bittersweet. So much of her role depends on the subtlety of her facial expressions: her sad smile at pretending to believe Sam's excuses for not marrying her, her bemused glances at the flirtatious old millionaire, her self-satisfied smirks as she thinks about how people will react to discovering her crime, her mixture of concern and fear as she talks to Norman in the backroom parlor. Plus, she displays an attitude that is both smart and sexy. It is one of the great film performance.

It's easy to take PSYCHO for granted now; it has been imitated so many times in so many ways by far lesser talents. Indeed, it's one negative is that it inspired so may pale imitations, including its own three sequels and a very bad remake. Yet even so, PSYCHO remains a one and only original. And its iconic status can't be denied; it redefined the concepts of what a Hitchcock film was and what a horror film could be.
2004-06-13
dark, chilling and full of suspense
I saw this movie for the first time in 1974 at age 16 and Anthony Perkins' chilling portrayal as mama's boy Norman Bates frightened me throughout the whole film. It also shed a new light on taking showers alone at home. Even today, in 1999 at age 41 I still get nervous when I hear strange noises while taking a shower.
1999-10-29
Into the Abyss with the Master
SPOILERS AHEAD;

First the photography exceeding even the best film noir Laura with the most stunning use of shadows even see in a film. Show me a scene like Norman at the swamp shadow covering half of his face in total darkness showing visually exactly what he was half man half monster. This is replicated at the end with the camera on the floor shooting upwards in the chilling "She wouldn't hurt a fly." How to terrify without exploding bodies gushing blood splattering all over if only young filmmakers would study Hitch more what better American films we would have today. The God's eye camera when Aborgast ascends the stairs we see the door open and norman's mother raises the knife high and stabs down we descend the stairs with him. Inside of him see how many examples of that you can find. Even when Marion wakes up in the car on the side of the road, the face of the sinister cop causes even her nascent conscience to terrify her. Look how Hitch shoots the cop so he fills the whole screen with sunglasses the face of God perfect work!!!

Hitch always has fate destroy the evil characters in SHADOW OF A DOUBT uncle charlie loses his balance and falls in front of the train; here Marion while smirking in evil satisfaction how she duped everyone at the real estate office a single raindrop falls wiping her glee off of her face. This begins the concatenation of events that drives her off of the highway to the Bates Motel and her dying stabbed to death in the shower. The wonderful overlooked scene where she begins to lead norman into her room, norman starts to step forward but something makes him retreat to the office and marion looks at him both alarmed and quizzically; she has not been rejected often we see a cloud of worry cross her face.

Perkins gives such a great performance; when marion suggests mom should be put away the volcanic and terrifying eruption of hate so sudden and without warning. People always mean well they cluck their thick tongues and suggest ever so subtly, marion almost leaves here she can see a glimpse of what is inside. What makes the picture work is his performance he gives such believability to the deeply disturbed norman. Marion is by no means a sympathetic character within the mores of the late 50s a woman having an affair with a married man was considered scandalous. Like De Palma's Blow Out with the angel of death towering over nancy allen, hitch like De Palma his disciple, the evil are punished. A sense of impending doom accompanies her as she scurries about changing cars even seeing her boss in the crosswalk. Viewers share her sense of dreadful destiny one step behind her. Yet the single smirk as she laughs at her cleverness is swiftly answered by Hitch with her doom.

The film is with SHADOW OF A DOUBT Hitch's two best films. Even gore sated ADD modern audiences should enjoy it for its wonderful creepiness. Norman is so odd so bizarre his presence on screen is never boring. I consider the use of shadows on norman's face and the interiors to be textbook exceeding the best of the film noir genre OUT OF THE PAST comes close but still hitch knows photography combined with unique camera angles all film students should study this film
2015-04-29
Great movie, kept me guessing till the end.
I saw Psycho last night at the campus movie theatre and it was great, not to mention scary. I mean I had never seen it before (except for parts on TV when I was small) and had no clue about the plot or the ending. Untill the final scene I still thought it was the mother. Now I'm one of those guys who can pick out the ending like half way through the film, but Psycho had me fooled all the way to the end. Psycho may be great to watch again and again, but its even better the first time.
1999-09-04
A horror masterpiece
This is one of the most well-crafted horror film of all time. I can't say much about this film that hasn't already been said, so I'll just say it is eerie, suspenseful, and well-told. With this, Hitchcock became one of the best directors ever. 5/5 stars.
1999-07-28
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