Psycho Scene Analysis

This particular scene introduces the concept of birds in the film, when we see Norman speaking to Marion about his mother. The birds on the wall take up a large section of the frame and their wing span seems overpowering, thus perhaps signifying the idea of predator VS prey. Norman reverses and contradicts the way we view him by seemingly being a representation of the predator, therefore connoting potential threat. As Marion mentions about putting his mother in a mad house, it is clear that Norman has become angry and his response combined with the low angle focusing on him represents his power over Marion. The way in which he responds gives us the impression that he has been in an institution, thus portraying the idea that Norman is isolated, lonely and potentially trapped. This is indicated through his words about his mother, speaking as if she is a liability whose needs are confining him to the hotel. Andrew Sarris’ auteur theory applies to Alfred Hitchcock as he was particularly influenced by montage films that used editing to craft emotion; an example of such film was Battleship Potemkin. Hitchcock has embraced and enhanced various techniques which are evident in Psycho, for instance this scene which focuses on a slow montage to create suspense for the audience, until the main build up further on. The low key lighting compliments these factors as the scene evokes a dark atmosphere that seems to foreshadow what is to come. This is also depicted by the shadows cast on the walls and ceilings, which in turn create tension for the audience. Roughly 90% of Norman’s face is dark, but a small fraction where the other half is present is brightly lit, emphasising his schizophrenia and split personality. Furthermore, the fragment of light signifies the notion that although he is a murderer, there is still some essence of good in him and this makes the audience sympathetic towards him.