![]() ![]() His analysis of Norman's pathology is cogent and extremely well delivered. Simon Oakland is as good a man for the job as I can imagine. After all, the movie came out in 1960, and by the standards of the time some explanation seems in order, and Dr. ![]() This part of the film has been criticized by many for being a sop thrown to the audience. The stakes feel very high in this sparring match, and though Norman wins on a technicality, we know that Arbogast is coming back for more. This is beyond the question of who killed Marion. The private detective's interview with Norman is played low-key, and yet we sense the tension in Norman's voice and manner, and know that Arbogast does, too. Bates in the window, who's that buried up in Greenlawn Cemetary". John McInyre's sheriff dominates this scene (and no other), and expertly delivers its punchline, "Well if that's Mrs. Bates' death (and the dress she was buried in, "periwinkle blue"). The result is a mini-comedy of manners but it is also good exposition, as we learn of Mrs. When Sam and Lila wake up the sheriff and his wife in the middle of the night we see a splendid example of people talking to one another without either party understanding what is in fact going on. The handling of every nuance is prodigal and masterful, and the end result nothing less than staggering. ![]() This is in my opinion the best written and most beautifully acted, edited and photographed scene I have ever seen in a movie. Every camera angle and line of dialogue in this scene has meaning and carries enormous weight, and yet the drama plays out in a light, relaxed mode, and the performers seems truly connected to one another at its conclusion, strangers no more. We can see that he is moody when he angrily leans forward and delivers an angry, though controlled tirade against putting people in institutions. Without actually lying Marion gives herself away with a throwaway line ("Sometimes just once is enough", in a reference to private traps) and Norman seems to catch her drift, if not the actual meaning of what she's saying, and allows it to pass. ![]() Once Marion and Norman settle down for a light meal in the parlor their conversation turns to general things, and Norman is a good observer, if a bit awkward socially. We know that something isn't right, but the problem isn't with the car lot it's Marion's plight casts a dark shadow over all her scenes there, despite the brightest sunlight imaginable. The scenes at the used car lot are both highly realistic,-and perfectly acted and timed-and also a little frightening, from the opening, "I'm in no mood for trouble", to the final "hey!" just before Marion drives away. He senses that she is being watched by the cop but he also wants to make a sale. At the end of almost every other line of dialogue he seems on the verge of discovering who Marion really is, then pulls back or comes to the wrong conclusion. John Anderson is wonderful as the fast-talking, semi-streetwise small town used car salesman. Had she confessed to her crime she would have escaped the fate that awaited her and if she had just been a little less clever, and driven more slowly, and the skies remained clear, he might have followed her to the motel and intervened on her behalf. Despite his appearance the cop is not the angel of death but rather Marion's last chance. Marion is, alas, a bad actress, and the cop sees through this, if not to the heart of the matter, yet we don't want him to follow her. His conduct is at all times professional he never raises his voice, and comes across as calm and rather perceptive and he seems truly concerned over Marion Crane's fate, though he is unaware of her actual predicament. The cop is dark and sinister in appearance, due mostly to the bright desert sun, and never takes off his sunglasses. There isn't a false note,-or a missed one-as each vocal inflection and raised eyebrow carries great meaning even if, on the surface, not much appears to be happening. Here are a few examples: a.) The absolute realism of the first twenty minutes of so, which are so true to life that they might have come from a documentary on how people lived in America forty years ago. It's often the little things that make a film work. So much has been written about this film that all I can do is add my own voice of approval and say that I consider it to be a masterpiece, and add a few things often overlooked or not commented on that add so much to the movie's cumulative power. ![]()
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