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Purchase Psycho (1960) Movie Online and Download - Alfred Hitchcock 🎥
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.
Type Resolution File Size Codec Bitrate Format
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HQ DVD-rip 852x480 px 1297 Mb h.264 1500 Kbps flv Purchase
DVD-rip 560x304 px 703 Mb mpeg4 785 Kbps avi Purchase
iPhone 480x270 px 569 Mb xvid 600 Kbps mov Purchase
Reviews
Hitchcock makes a masterpiece
I am a big fan of Alfred Hitchcock. I have seen all of his movies, and think all of them are excellent. This one, however, is at the top of the food chain. Psycho is brilliant. Hitchcock gave this film excellent direction, and the acting was superb. Especially Anthony Perkins playing the role of Norman Bates. He always talked so fast, like he was nervous and anxious all the time. When he talked to Marion Crane about his mother, it gave me chills down my spine. "She just...she just goes a little mad sometimes. We all go a little mad sometimes." At that era, I don't think a better person could have delivered that line than Anthony Perkins. What makes this movie so great is its originality. Sure, there have been lots of films about "psychos," but this is pretty much the first one. The script was excellent, the acting was excellent, the direction was excellent, the cinematography was excellent, the music was excellent, the scenery was incredible, especially that dark old house where "Mother" lived. I could just go on and on about what a great movie this is. My grade: A+
1999-08-30
I Didn't Think It Lived Up To Its Reputation
"Psycho" has gone down in Hollywood history as one of the greatest of horror movies, and even if you've never seen it (which I hadn't until today) you still feel a certain connection to the movie just on the basis of its reputation. That in itself can be a problem, because you're expecting a lot when you watch it for the first time. Unfortunately, for me at least, this didn't quite live up to its billing. It was a good movie, Alfred Hitchcock did a good job of directing with a number of what are today recognized as typical "Hitckcock-ian" touches, particularly with some very effective camera work, and basically the cast, headed by Anthony Perkins as motel owner Norman Bates and supported by Janet Leigh, Vera Miles, John Gavin and Martin Balsam (I would say in that order of importance to the story) did a fine job. Still, I was expecting something more.

First, I would call this more of a suspense movie with a touch of slasher movie thrown in than a horror movie, although that's admittedly through a modern lens. There are really only a couple of scenes that were "horrific" - one being the famous shower scene and one being the revelation of Norman's mother near the end of the movie. Otherwise you get a mystery - with the end surprise being fairly clearly telegraphed to anyone who was paying attention. The suspense starts with Marion (Leigh) stealing a large sum of money from the real estate agency where she works and running off, eventually coming to the Bates Motel to spend the night. Since the murder in the shower is the classic scene of the movie, you don't expect it to come as early as it does, and you don't expect that so much of the movie is going to revolve around Lila (Miles) and Sam (Gavin) as they search for Marion. Somehow, I expected to see more of Janet Leigh. Still, there is good suspense even if the surprise about Norman's mother is pretty clear from even a mile away.

What knocked this down a bit for me, though, wasn't the obvious solution to the mystery. It was the seeming need to offer a very in depth psychological explanation near the end of what Norman was all about. Maybe there was a sense that movie-goers in 1960 would need such an explanation. I found what was virtually a closing soliloquy (and a very long one) by Simon Oakland playing a psychiatrist who's called in to examine Norman to be tedious in the extreme, and largely unnecessary; filled with psycho-babble. Norman could have been explained - if an explanation was felt necessary - much more succinctly.

One can't diss this movie. There's really very little wrong with it, except that its reputation makes it very hard for it to live up to when you watch it. Undoubtedly, when watched with late 20th-21st century eyes (well conditioned to the point of being almost oblivious to slasher-type violence) it comes across as a bit dull, frankly. Equally undoubtedly, it didn't come across that way to audiences in 1960. Still, I found it to be a little bit of a letdown compared to what I was expecting of it. (6/10)
2011-06-01
The master of suspense is in full force here
Welcome to the Bates Motel. 12 cabins, 12 vacancies. What are you doing here? Running from the police? Alright, well enjoy your stay and see you in the morning. Or maybe not. Alfred Hitchcock was one of the most influential and fiendishly wonderful movie makers of the twentieth century. Before "Psycho", I had seen exactly 22 of Hitchcock's pictures. Most of them I enjoyed but none of them were as memorable as this piece of work. It is not just a cinematic accomplishment but also of successfully portraying someone who is indeed psycho. This movie was a shock when released in 1960 because of the way the movie was laid out. For example, it was unthinkable for a main character to be killed so early in the film. The goal was to put the audience on edge to the point where they had no idea what would happen next. And Hitchcock indeed pulled it off. In fact, he was sure to make clear that no one would be admitted into the theater after the movie had begun. You must watch it from beginning to end. I am not going to tell you the plot because the less you know, the better. They don't call Alfred Hitchcock the master of suspense for nothing.
2012-11-17
great
This is one Hitchcock's best, except for that dumb final speech, which is entirely unnecessary. But it redeems itself with that final shot. Can you believe they've made another "Psycho?" This is the worst thing to happen to movies since Ted Turner wanted to colorize "Citizen Kane," but that never happened. This is happening. This just sickens me to think about it. And of course we're going to get those geeky teenagers that will make the film a profit. Gus Van Sant used to be a good director, now he's just another make-movies-for-profit-only director. SELL OUT!
1998-10-29
Hitchcock's "Crazy" Film!
One of my favorites and I think Hitchcock's best film. Made relatively low-budget with his TV-show crew, this movie has haunted me for years and not because of the shower scene. Actually, the best scene is just prior to the shower scene and it's in the parlor with Norman and Marion. The only human connection moment in the film that doesn't show selfishness or ulterior motives. Quiet and full of info, as the camera looms over them, this scene is masterful in writing and acting. Perkins gave his best performance as the timid and lonely Mr. Bates who really is clueless. Janet Leigh is perfectly cast as the sexy, intelligent woman in over her head. The rest of the cast is top-notch and this film should have cleaned up at the Oscars in '60, but was considered too creepy for most folks.

A 10 out of 10. Best performance = Perkins. Brilliant editing and cinematography (b/w) with The Bates Motel a wonderful set. This film is highly undervalued and I don't consider it a horror film. Dashed illusions, loss of essence, and money-will-fix-it attitude while suspicions fly all over the place. Great stuff!
2005-05-16
The More I See This, The Better It Gets
When I watched this for the first time in over 30 years, I was surprised how little action there was since I had remembered this as some intense horror movie. Of course, I was young and more impressionable so I guess I just remembered those few dramatic, sensational scenes such as Janet Leigh murdered in the shower and the quick other murder at the top of the stairs. Basically, that was about it, action-wise, BUT I have no complaints because the more I watch this film, the more I like it. It has become my favorite Alfred Hitchcock movie, along with Rear Window.

I mention the lack of action, and blood, too, because younger people who might be watching this for the first time are not going to see the kind of horror film they're accustomed to seeing. A generation back, movie makers tended to build up characters and suspense, so there was a lot more storytelling and less action than you see today. Also, this movie doesn't have the shock value today for audiences, either, not after years of Freddie Krueger-type blood-and-guts seen in the past 30 years.

But, what you WILL see in this movie is (1) superb acting; (2) a fascinating lead character; (3) excellent photography, and (4) a bizarre story.

"Norman Bates" is one of the most famous fictional names in film history, thanks to this film and the great work portraying him by Anthony Perkins. "Norman" is a nutcase, as it turns out and the more you know all about him, the more fun it is to study Perkins and his character "Norman" in subsequent viewings. He really has the guy down pat. However, it isn't just Perkins' film; the supporting is just fine with Leigh, whose figure is still awesome no matter how many times you see it; Martin Balsam as the private detective; Vera Miles and John Gavin. Everyone contributes.

What makes me really enjoy this movie is the cinematography. I bought this on VHS when it became available on widescreen. Later, of course, I got the DVD. Each time, I appreciate John Russell's camera-work and Hitchcock's direction more and more. I wonder if this isn't Hitchcock's best job of directing as his camera angles and lighting are outstanding. On the DVD, the blacks, whites and grays are just super and the famous house next to the Bates Motel never looked better. That house really looks eerie.

The sound effects in here don't hurt. When Balsam is attacked, the accompanying frightening music never fails to bring chills down my spine. The music literally "screams" at you.

I went 35 years between showings but now have watched this five times in the past four years. I love it and look forward to seeing it again. Many people here think this is Hitchcock's greatest film. Add me to that list.
2006-10-25
Best horror movie ever?
OK, this is the tough one! This was first Hitshock's movie that i watched so far, and i'm thrilled. Except the story that movie follows, it send one very clear message (at least for me) that money, and human greed for money can be very destructive. It also show that we can never know what is hiding in minds of people, even the one we know very good (Not just Norman twisted mind, but Marion Crane's "betrayal"). Movie has very original story lines, it's not just some "stereotypical horror movie" on what are we accustomed when it come to them. I liked that as movie progressing mystery for the main characters become bigger and bigger, but not for us. Trough the whole movie we think that we know what's happening, until that plot twist at the end (one of the best horror movie plot twist ever) which surprise us all. I honesty didn't expect something like that happening! Acting in the movie was awesome,and every single one of the main characters pulled out an excellent performance. Anyway i really like this film, and all though i don't appreciate horror movies that much, i can surely say that this is one of my favorite movies, and possibly best horror movie ever (for me definitely)!
2017-06-18
A Hitchcock masterpiece—thanks to Bernard Herrmann
"Psycho" ranks second on a list of Alfred Hitchcock's four masterpieces, following "Vertigo" and followed by "North by Northwest" and "Rear Window," which ranks number four only because it lacks a Bernard Herrmann score. While Hitch's camera is always the best feature of his films, Herrmann is the artist who puts three of them over the top and into the realm of true greatness—setting them beyond such near-great movies as "Notorious" and "Strangers on a Train," which both had good scores, but nothing like the sublime and haunting music of this film. There is no underestimating Hitchcock, nor the work of Janet Leigh and Anthony Perkins, who play the film's two main characters; but without Herrmann this could not have been a great movie.

The opening scene is the best place to appreciate both Herrmann and Hitchcock. Joseph Stefano's script is extremely well-structured and it was his idea to make Marion Crane the story's main character, before switching over forty minutes later to Norman Bates. (In the original novel, Robert Bloch dispatches Mary Crane much sooner.) But his dialogue is often stilted, and the opening scene, where Marion and Sam Loomis (John Gavin) share a lunchtime tryst in a cheap hotel, is badly written. The fault is made worse by Gavin, whose performance is stiff and awkward throughout, nowhere more than here. Yet this scene is among the glories of the movie, with the camera, the music and Janet Leigh's performance all giving it an aching poignancy that haunts our minds long after the film is over. Our sense of Marion's longing and frustration, which could not be conveyed by Leigh alone, is necessary for us to understand why she commits the rash act of stealing money from her boss's client. Watch how much is conveyed to us by the camera when Marion suddenly rises from the bed. Listen how much is conveyed by Herrmann's music when Sam spreads out his hands in mock-surrender and says, "All right." The scene as written would seem unworkable in other hands; in the hands of Herrmann and Hitchcock (and Leigh) it becomes masterly.

Gus Van Sant's remake, a fascinating failure, helps us appreciate many things about this film, including the performances—even, perversely, the performances of Gavin and Vera Miles, who plays Marion's sister, Lila. Gavin is incompetent and Miles is thoroughly competent, but both have the same effect on us: we don't care about them. Or rather, we would be bored by them if they were doing anything other than solving the mystery of Marion's disappearance. Viggo Mortensen and Julianne Moore give these bland characters more dimension, and in doing so, annoy us with their distracting personalities. Characters that are deliberately featureless often excite our imaginations more than ones that are full of tedious quirks. As is so often true with old movies, their "faults" prove to be virtues when remakes attempt to correct them.

Oddly, I vividly remember everything about the Van Sant film, except for Vince Vaughn's performance as Norman Bates; I only remember that at the time I thought it was excellent. Anne Heche, by contrast, was memorably awful, especially in the one scene that enhances our appreciation of Janet Leigh. When Marion is in her apartment alone (and without any monologue), packing her things and worrying about her mad plan, Leigh conveys all the anxiety in her decision with a minimum of affectation. But Heche not only makes the putrid decision to play the scene as if she is half-amused by her own craziness; she conveys this idea with the maximum of overplaying, as if she were compensating for her lack of dialogue with broad gestures and eye-rolling. Leigh shows us how she feels; Heche announces it over a megaphone.

Anthony Perkins' performance as Norman Bates is among the most memorable ever recorded on film. He is sympathetic and frightening; innocent and malign; horrifyingly unlike us and even more horrifyingly like us. Stefano gives him the best lines; and Hitchcock's camera is preternaturally adept at drawing us into his world when necessary and then coldly keeping us distant when needed. Yet with all this, how much more than a satisfying thriller with a clever trick ending could "Psycho" have been without Herrmann's score to help it transcend itself? Could Norman Bates have haunted us as much with a merely excellent score, like the ones for "Strangers on a Train" and "Frenzy"? Neither Bloch nor Stefano is Shakespeare, and Norman Bates does not live on the page, as Macbeth, Edmund and Iago do. Could Norman Bates, like Shakespeare's characters, live for four-hundred more years? If he survives, it will have been the joint genius of Perkins, Hitchcock and Bernard Herrmann that rendered him, and his story, an immortal nightmare.
2006-12-07
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
since everyone knows the story, let's talk about camera angles and such...
I checked the spoiler box because I think that even any discussion about camera angles will give the ending away. For starters, when Marion and Norman first meet, you can see Norman's reflection in the window, as if there's two of him. When Marion and Norman are eating dinner in the room with the stuffed birds, you can see that some of the birds are positioned so that their beaks look almost as if they're pecking at both Marion and Norman; something is eating at Norman, and we get to see a premonition of Marion's impending fate. When Norman looks through the hole (which incidentally is behind a picture of two people attacking a woman), we get a POV shot; when Marion is in the shower, we get a POV shot. When Norman pushes Marion's car into the swamp, half of his face is in a shadow, as if he has two sides.

On the subject of those birds, there are several references to birds throughout the movie: Marion's last name is Crane, she comes from Phoenix, and finally, the stuffed birds. The truth is, Hitchcock had a keen interest in avians; in "Sabotage", a woman finds her strength after watching "Who Killed Cock Robin?", then the bird references in "Psycho", and finally, the ornithological uprising in "The Birds". Speaking of the characters' names, there's Crane (a bird), Bates (bait), Loomis (gloom), and Arbogast (aghast).

Another thing that Hitch does in this movie is play with the audience. First, the movie focuses on Marion. When she steals the money, you're not sure whether to root for her, because she is the main character and you want her to succeed, but do you want her to steal? Then, the movie focuses on Norman. When he hides Marion's murder, you want him to succeed, but succeed in hiding a murder? Finally, the focus shifts to Lila.

Everyone remembers the shower scene, but what does it mean? It seems as though Marion, by flushing the paper down the toilet, was washing away her misdeeds, and taking a shower consecrated that.

The dialogue is of course a key part. Obviously, "Mother...what's the phrase...isn't quite herself today." and "A boy's best friend is his mother." are premonitions, but there are others. In the discussion of institutions, Norman talks about "...the cruel eyes studying you." Then, when he looks through the hole, his eyes study Marion. At the end, you might say that there are three explanations: first, the bombastic psychiatrist explains Norman's mental state; then, "mother" describes how her son is guilty; and finally, the car is towed out of the swamp, as though they have dug into the putridity of Norman's mind. They have penetrated Norman's mind, just like the knives penetrated Marion's and Arbogast's bodies.

On the DVD, you should watch the original trailer, which has Hitch showing us around the motel and house. He was really playing with the audience there. First off, he looked into a toilet. No movie had ever portrayed a toilet (but everyone knew why toilets existed), so what must the audience have thought about that? Also, he looks in a closet, looks surprised, and closes the closet. Did he see something in there? I try to imagine being someone who saw that trailer, and then saw the movie, waiting to see what would happen.
2005-07-14
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