Horror Films I Own III

Lucio Fulci is probably most well known for his zombie films (Zombie Flesh Eaters, The City Of The Living Dead, The Beyond and The House By The Cemetery), however this film is still a brilliant sleezy giallo italian horror. This film is probaby the most misogynistic of his films, with images of nudy women being killed by a killer (obviously) who sounds like Donald Duck (Quack! Quack! Quack!). Not AS gory as some over Fulci films, but still has its share, including an eye-piercing, a nipple sliced and a broken bottle being stabed in a woman's whatsits! So I'd recomend this to fans of hardcore horror films. Just don't expect a masterpiece.

I, like most people, have favourite film directors, but only a few of them, I would class as being true masters. Stanley Kubrick is one of these (see Peter Neal's fantastic review of "The Shinning") and Taratino as well as Alfred Hitchcock. Or should I say, His Majesty (of suspense) Alfred Hitchcock! And I would also say, that his 47th film that he directed, "Psycho" is his best work and most influential to film in general. I would also argue that this film is one of the most shocking films to have been made, if you don't just associate shock with repulsion and violence, as many many people walked out or even fainted whilst watching this in the cinema. Infact one girl even complained as the film gave her a severe phobia of showers!!!!!!!
One of these ways that I mean shock is created is through the narrative. This film is full of MacGuffins (a term coined by Hitchcock himself!). These include the policeman 'interrogating' Marion Crane, Crane's employee seeing her in the car as she is making a dash for it (payed homage to in Quentin Taratino's 1994 "Pulp Fiction") as well as the most obvious and shocking one, Marion Crane's untimely death, since up to that point she was the star of the film, she was also the most well-known actress in the film as well . MacGuffins are now used in many, many films in order to shock the audience and provide a very intriguing narrative twist. From Shameless's own "Night Train Murders" (1975; Aldo Lado) (the first train is not the 'murder train' of the title surprisingly) to "Pulp Fiction" and it's mysterious contents of the briefcase (the best explanation being that it is Ving Rhame's character's / the Devil's soul - hence the glow from the case, the misquotation of the Bible by Samuel L. Jackson, the plaster on Rhame's neck and ofcourse "...divine intervention"! But enough about that film! ).

Another part of this film which is truly amazing is Bernard Herrmann's musical score which is possibly one of the best soundtracks in a horror film, which also provides other MacGuffins when it builds and builds revealing nothing at times. This too has influenced countless films, from the obviously inspired "Re-Animator" (1985; Stuart Gordon) score by Richard Band, to the opening credits in the Pedro Almodovar's 2004 drama "Bad Education". And it's even more interesting when you realise that at first Hitchcock never wanted there to be a score (hence the lack of music in "The Birds" (1973)). As well as this, the acting is unbelievably good - especially from Anthony Perkins - although he never even was nominated for an award! - and Janet Leigh (mother of Jamie Lee Curtis!) not winning her award!

This film is probably most famous for its 'Shower Montage' which took 70 cameras and a whole WEEK to shot the 45 seconds! Alone, these 45 seconds managed to create huge controversy as it is so well shot and edited that people believed they actually could see the knife penetrating Crane's flesh (a Freudian metaphor similar to in "New York Ripper") as they had not seen anything remotely violence in film for quite some time due the strict 'Production Code' enforced at the time. As well as this, the Jekyll and Hyde-like twist is one of THE most famous twists in cinema history (along with "The Sixth Sense" (1999; M. Night Shyamalan).) - although seeing Bates in a dress can cause some unintentional humour.

The film is also full of Hitchcockian 'traits' including his infamous cameo! Also, the way he creates a likeable villain (Norman Bates, the audience feels for the villain when the car he tries hiding in the water gets stuck) which can also be seen in his "Dial M For Murder", for instance. As well as his luv for birds (the feathered kind) as seen in the stuffed birds and Marian CRANE's name.

Overall, I think that this is one of Hitchcock's greatest films, and influenced cinema, in particular horror, greatly (this gave birth to the slasher subgenre). I truly luv all the twists and the incredible montage as well as the music which complements the film being shot in black and white (to give it a low-budget, gritty and more realistic feel) perfectly. It too, like the other two reviews, has VERY interesting readings regarding if its crisisises patriarchal or matriachal society. For instance; the lack of a father figure, resulted in the mother becoming dominant and powerful (in Norman's mind) resulting in dangerous problems, furthuremore, Marion, a strong female is punished. This film is one of the better films inspired by the true story of Ed Gein (a psychotic killer who seemed so friendly he wouldn't even ?...swat a fly? as Bates would say (!) which also influenced "Silence Of The Lambs" and "The Texas Chainsaw Massacre" to name but a few). The only fault I can find with this film, is how the middle of the film seems to be slightly slow compared to the very engaging first half. This film is A MASTERPIECE, no wonder why this was Hitchcock's greatest box-office success (the only film to beat it's profit was "Ben-Hur"!).

So, do I luv it? No. I LUUUUUV IT!

I give it 5/5 luvs!