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Psycho (1960)

Approved | | Horror, Mystery, Thriller | 8 September 1960 (USA)
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A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.

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(screenplay), (novel)
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421 ( 79)
Top Rated Movies #33 | Nominated for 4 Oscars. Another 5 wins & 9 nominations. See more awards »

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Cast

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Caroline (as Pat Hitchcock)
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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. Written by Col Needham <col@imdb.com>

Plot Summary | Plot Synopsis

Plot Keywords:

motel | money | shower | theft | secretary | See All (296) »

Taglines:

See the version TV didn't dare show! (1968 re-release) See more »


Certificate:

Approved | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

8 September 1960 (USA)  »

Also Known As:

Alfred Hitchcock's Psycho  »

Box Office

Budget:

$806,947 (estimated)

Gross:

$32,000,000 (USA)
 »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (cut)

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Alfred Hitchcock wanted either Stuart Whitman, Tom Tryon, Brian Keith, Cliff Robertson, or Rod Taylor for the role of Sam Loomis, but Universal insisted on John Gavin. See more »

Goofs

At the time of the film's production in 1959, the California Highway Patrol did not use Fords in their fleet (only Dodges with the famous D500 power plant). Also the livery of the vehicle is incorrect; only the front doors were painted white. The roof and rear doors were black. However,the CHP star on the front doors, as well as the emergency flasher and spotlight arrangement ARE correct and the uniform worn by Mort Mills is as well. See more »

Quotes

Milton Arbogast: Now, if this Marion Crane were here... you wouldn't be hiding her would you?
Norman Bates: No.
Milton Arbogast: Not even if she paid you?
Norman Bates: No.
Milton Arbogast: All right, then lets say for the sake of argument that she needed your help and that she made you out to be a fool in helping her...
Norman Bates: Well, I'm not a fool. And I'm not capable of being fooled! Not even by a woman.
See more »

Crazy Credits

Opening credits prologue: PHOENIX, ARIZONA

FRIDAY, DECEMBER THE ELEVENTH

TWO FORTY-THREE P.M. See more »

Connections

Spoofed in Beim nächsten Mann wird alles anders (1989) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Hitchcock and Herrmann
23 November 2007 | by (New Zealand) – See all my reviews

Robert Bloch wrote the original work, Joseph Stefano adapted it into a tight screenplay but it was Alfred Hitchcock with the extraordinary complicity of Bernard Herrmann who transformed this lurid tale into a classic, horror masterpiece. The score propels us into the moment before the moment arrives provoking the sort of anticipation that verges on the unbearable. The fact that the key scenes have become iconic film moments: copied, imitated, emulated and parodied, have not diminished its impact, not really. The anticipation, underlined by Herrmann's strings, creates a sort of craving for the moment to arrive. That doesn't happen very often. No amount of planning can produce it or re-produce it - otherwise how do you explain the Gus Van Sant version - so, the only possible explanation is an accident, a miraculous film accident and those do happen. Everything falls into place so perfectly that even the things that one may argue are below the smart standard of the film, are needed, the film without every frame is not quite the film. Try to turn away after the climax during Simon Oakland's long explanation. You can't. I couldn't. Partly because you know you'll soon be confronting those eyes, that fly, the car...


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