Psycho is a 1960 American suspense/horror film directed by Alfred Hitchcock and starring Anthony Perkins, Vera Miles, John Gavin, and Janet Leigh. The screenplay by Joseph Stefano is based on the 1959 novel of the same name by Robert Bloch. The novel was loosely inspired by the crimes of Wisconsin murderer and grave robber Ed Gein, who lived just 40 miles from Bloch.
The film depicts the encounter between a secretary, Marion Crane (Leigh), who goes to a secluded motel after embezzling money from her employer, and the motel's disturbed owner and manager, Norman Bates (Perkins), and the aftermath of their encounter.
Psycho initially received mixed reviews, but outstanding box office returns prompted a re-review which was overwhelmingly positive and led to four Academy Award nominations. Psycho is now considered one of Hitchcock's best films and is highly praised as a work of cinematic art by international critics. It is often ranked among the greatest films of all time and is famous for bringing in a new level of acceptable violence and sexuality in films. After Hitchcock's death in 1980, Universal Studios began producing follow-ups: two sequels, a prequel, a remake, and a television movie spin-off. In 1992, the film was selected to be preserved by the Library of Congress at the National Film Registry.
Marion Crane - murderTV
Marion Crane - The New Religion
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Marion Crane - M.M.M.
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Psycho (1960) - Marion Drives Away
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Marion Crane- Illegitimate
ShyBoy® - Marion Crane
...Before the Apocalypse
1957 Hollywood. Before the Apocalypse.
Before the Apocalypse there was...
Plot
Death returns, after the events that occurred in the film Chameleon Killer, more mysterious murders begin again in Acid Falls. Sheriff Garris is beginning to doubt his own sanity, as the murders begin to mirror that of the murders done by the Chameleon Killer. Is this a copycat? Or is the Chameleon truly back for vengeance? As this mystery is revealed, the truth is much more frightening than anything imaginable.
You've never seen Oscar like this
Cameron Diaz: Jude, when we're making movies... um, wait. I'm sorry. They didn't fix the Teleprompter.::Steve Carell: Okay, so this was originally written for Cameron and Jude Law, but I stepped in at the last minute. [audience laughs]::Cameron Diaz: Thanks, Jude... I mean, Steve.::Steve Carell: Yep.::Cameron Diaz: The truth is, both Steve and I are big fans of animated films. Here are some of the stars of this year's films, to talk about being nominated, and what it means to them.::Barbara Walters: [off-screen] What would winning an Oscar mean to you?::Mr. Fox: [all of the animated characters, in separate "prerecorded" videos, sit in nearly identical "director" chairs with a poster of the film they're in to their left; Mr. Fox sits with a rabbit girl applying his makeup] Well, of course it's a tremendous honor to be nominated with such a prestegious group. I mean, these are all highly accomplished films - they are the best of the best. Look at this, look at, uh [Mole hands him a piece of paper] Princess and the... What's the Secret of Kells? These are all cartoons! [turns around] I thought we got nominated like a real movie!::Coraline Jones: Well... It would get my mom off my back. You know, like if she said "CORALINE! GO TO BED!" I could say "Mom, I've got an Academy Award!" or "Tidy your room!" "Oscar, mom. Deal with it." [the Cat pops his head out of the bag hanging on her chair and meows]::Coraline Jones: [to the Cat] Oh. That won't work, will it?::Aisling: Well, just being nominated is brilliant, because more people will discover our film - and me! And I got to go all the way from Ireland. I might get to meet that nice Mr. Merten, with the lovely silver hair - like mine!::Prince Naveen: [as a frog] Oh, you know, just to be nominated... [Louis the Alligator falls down on Naveen and squashes him]::Louis: [unaware of what he has done] We won! We won! Oh, this moment is so much bigger than me... This moment is for all the nameless, faceless gators who came before me...::Prince Naveen: [muffled] You! [Louis turns to show us Naveen on his bottom, squished] It is just a nomination!::Louis: [embarrased] Ehh... This isn't gonna end up on YouTube, is it? [audience laughs]::Barbara Walters: [off-screen, to Carl] So what does this nomination mean to you?::Carl Fredricksen: [Dug the dog is sitting next to him; Carl puts his hand to his ear] Huh? What?::Dug: What is that? [goes up to the camera] I will explore it now! [sniffs and licks the camera]::Carl Fredricksen: Dug! Stop that!::Dug: This is not food.::Carl Fredricksen: Get down! Hey! Here!::Carl Fredricksen: [a man offscreen, not Carl, of a different actor, says this] Hey, look here! A squirrel!::Dug: Squirrel? [he runs off, knocking down lights and the poster in the process]::Carl Fredricksen: Ah, for the love of Pete...
Christoph Waltz: Oscar and Penélope. That's an überbingo.
[Presenting Best Makeup in a complete head to toe costume as a Na'vi from "Avatar"]::Ben Stiller: It's a little weird that they had me dress up like this since Avatar isn't nominated for best makeup.
Alec Baldwin: Ladies and gentlemen, I am pleased to introduce actor, writer, musician, Grammy and Emmy winner, one of the most enduring entertainers of all time, Mr. Steve Martin!::Steve Martin: And this is Alec Baldwin.
Steve Martin: Meryl Streep holds the record for most nominations as an actress. Or as I like to think of it, most losses.
Steve Martin: And there's the beautiful Sandra Bullock. Who doesn't love Sandra Bullock!::Alec Baldwin: Well, tonight we may find out.
Steve Martin: [gestures to his right] Over here, we have the "Inglourious Basterds" section...::Alec Baldwin: [gesturing to his left] And over here, we have the people who made the movie.
Steve Martin: Oh, look, there's that damn Helen Mirren!::Alec Baldwin: Steve, Steve, that's "Dame" Helen Mirren.
Alec Baldwin: Look, there's Vera Farmiga, nominated for her performance in "Up in the Air." [applause] Did I pronounce that right? Up...::Steve Martin: In the...::Alec Baldwin, Steve Martin: Air.::Steve Martin: Yeah, sounds about right.
Steve Martin: The biggest change this year is that the Best Picture category has doubled. And all of us in Hollywood were thinking the same thing: "What's five times two?"
Plot
It's November 30, 1962. Native Brit George Falconer, an English professor at a Los Angeles area college, is finding it difficult to cope with life. Jim, his personal partner of sixteen years, died in a car accident eight months earlier when he was visiting with family. Jim's family were not going to tell George of the death or accident, let alone allow him to attend the funeral. This day, George has decided to get his affairs in order before he will commit suicide that evening. As he routinely and fastidiously prepares for the suicide and post suicide, George reminisces about his life with Jim. But George spends this day with various people, who see a man sadder than usual and who affect his own thoughts about what he is going to do. Those people include Carlos, a Spanish immigrant/aspiring actor/gigolo recently arrived in Los Angeles; Charley, his best friend who he knew from England, she who is a drama queen of a woman who romantically desires her best friend despite his sexual orientation; and Kenny Potter, one of his students, who seems to be curious about his professor beyond English class.
Keywords: 1940s, 1960s, 21-year-old, accident, aging, angel, anti-semitism, architect, arm-pain, aspirin
Jennifer Strunk: Would you like to meet Charlton Heston? He's our scorpion. Every night we throw in something new to him and watch him kill it. Daddy says it's like a Coliseum. Daddy says he wants to throw you into the Coliseum.::George: No kidding. Why?::Jennifer Strunk: Well, he says you're light in your loafers. But you're not even wearing any loafers.
George: [whispered] Just get through the goddamn day.
Grant: There will be no time for sentiment when the Russians fire a missile at us.::George: If it's going to be a world with no time for sentiment, Grant, it's not a world that I want to live in.
George: Looking in the mirror staring back at me isn't so much a face as the expression of a predicament.
George: I always used to tell him that only fools could possibly escape the simple truth that now isn't simply now: it's a cold reminder. One day later than yesterday, one year later than last year, and that sooner or later it will come.
George: It takes time in the morning for me to become George, time to adjust to what is expected of George and how he is to behave. By the time I have dressed and put the final layer of polish on the now slightly stiff but quite perfect George I know fully what part I'm suppose to play.
George: For the first time in my life I can't see my future. Everyday goes by in a haze, but today I have decided will be different.
George: [last lines; voiceover] A few times in my life I've had moments of absolute clarity, when for a few brief seconds the silence drowns out the noise and I can feel rather than think, and things seem so sharp. And the world seems so fresh as though it had all just come into existence. I can never make these moments last. I cling to them, but like everything, they fade. I have lived my life on these moments. They pull me back to the present, and I realize that everything is exactly the way it was meant to be.
Carlos: No one has ever picked me up and not wanted something.::George: I think you picked me up.
Carlos: Sometimes awful things have their own kind of beauty.
Plot
Marion Crane steals a lot of cash from a man whom her boss is in business with. On the way to see her boyfriend, she stops off by an old motel, run by the odd Norman Bates. She is murdered in the shower. Her sister, boyfriend, and a private investigator try to find out where she is, while we learn more about Norman Bates.
Keywords: 1990s, automobile, based-on-ed-gein, based-on-novel, bathroom, bird, blood, bra-removing, butcher-knife, cabin
Check in. Unpack. Relax. Take a shower. [Theatrical]
This is the FACE of Norman Bates. This is the MIND of Norman Bates. On December 4th, discover the WORLD of Norman Bates.
A recreation of the nightmare that started it all...
We all go a little mad sometimes...yes...sometimes once is enough
They'll see, they'll know and they'll say."Why she wouldn't even harm a fly."
The Classic Story of a Boy and His Mother
Check in. Relax. Take a shower.
A new vision of the classic nightmare.
Milton Arbogast: Oh, someone has seen her, all right. Someone always sees a girl with $400,000.
Norman Bates: Dirty night.
Norman Bates: Oh, we have 12 vacancies. 12 cabins, 12 vacancies.
Marion Crane: I'll lick the stamps.
Norman Bates: Well I'm not a fool. And I'm not capable of being fooled! Not even by a woman.
Norman Bates: I think I must have one of those faces you can't help believing.
Norman Bates: A boy's best friend is his mother.
Norman Bates: We all go a little mad sometimes.
[first lines]::Samuel 'Sam' Loomis: You never did eat your lunch, did you?::Marion Crane: I better get back to the office. These extended lunch hours give my boss excess acid.::Samuel 'Sam' Loomis: Why don't you call your boss and tell him you're taking the rest of the afternoon off? Its Friday, anyway - and hot.::Marion Crane: What do I do with my free afternoon? Walk you to the airport?
[last lines]::Norman Bates' Mother: It is sad when a mother has to speak the words that condemn her own son. I can't allow them to think I would commit murder. They'll put him away now as I should have years ago. He was always bad and in the end he intended to tell them I killed those girls and that man, as if I could do anything but just sit and stare like one of his stuffed birds. They know I can't move a finger and I want to just sit here and be quiet just in case they suspect me. They're probably watching me. Well, let them. Let them see what kind of a person I am. I'm not even going to swat that fly. I hope they are watching... they'll see. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly..."
Plot
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.
Keywords: abandoned-house, alimony, all-knowing-psychiatrist, alone-in-house, ambitious-woman, apartment-building, bad-mother, based-on-ed-gein, based-on-novel, basement
The picture you MUST see from the beginning... Or not at all!... For no one will be seated after the start of... Alfred Hitchcock's greatest shocker Psycho.
An Alfred Hitchcock Masterpiece.
The Essential Alfred Hitchcock.
A new- and altogether different- screen excitement!!!
* No One ... BUT NO ONE ... Will Be Admitted To The Theatre After The Start Of Each Performance Of Alfred Hitchcock's Psycho
It Is _Required_ That You See Psycho From The Very Beginning!
Don't give away the ending - it's the only one we have!
The screen's master of suspense moves his camera into the icy blackness of the unexplained!
Electrifying shocker! (Australia Release)
The master of suspense moves his cameras into the icy blackness of the unexplored! (window card)
Norman Bates: Dirty night.
Marion Crane: Do you have any vacancies?::Norman Bates: Oh, we have 12 vacancies. 12 cabins, 12 vacancies.
Norma Bates: [voice-over] No! I tell you no! I won't have you bringing some young girl in for supper! By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds!::Norman Bates: [voice-over] Mother, please...!::Norma Bates: [voice-over] And then what? After supper? Music? Whispers?::Norman Bates: [voice-over] Mother, she's just a stranger. She's hungry, and it's raining out!::Norma Bates: [voice-over] "Mother, she's just a stranger"! As if men don't desire strangers! As if... ohh, I refuse to speak of disgusting things, because they disgust me! You understand, boy? Go on, go tell her she'll not be appeasing her ugly appetite with MY food... or my son! Or do I have tell her because you don't have the guts! Huh, boy? You have the guts, boy?::Norman Bates: [voice-over] Shut up! Shut up!
Marion Crane: I'll lick the stamps.
Norman Bates: I think I must have one of those faces you can't help believing.
California Charlie: [Marion is imagining various conversations between the people she believes will be looking for her] Heck, Officer, that was the first time I ever saw the customer high-pressure the salesman! Somebody chasin' her?::Highway Patrol officer: I better have a look at those papers, Charlie.::California Charlie: She look like the wrong-one to you?::Highway Patrol officer: Acted like one.::California Charlie: The only funny thing, she paid me seven hundred dollars in cash.::Caroline: [Marion imagines another conversation] Yes, Mr. Lowery?::George Lowery: Caroline? Marion still isn't in?::Caroline: No, Mr. Lowery. But then, she's always a bit late on Monday mornings.::George Lowery: Buzz me the minute she comes in. Then call her sister - if no one's answering at the house.::Caroline: [Marion imagines the conversation later resuming] I called her sister, Mr. Lowery, where she works, - the Music Makers Music Store, you know, - and she doesn't know where Marion is any more than we do.::George Lowery: You'd better run out to the house. She may be, well - unable to answer the phone.::Caroline: Her sister's going to do that. She's as worried as we are.::George Lowery: [Marion imagines Lowery speaking to her sister Lila] No, I haven't the faintest idea. As I said, I last saw your sister when she left the office on Friday. She said she didn't feel well and wanted to leave early; I said she could. That was the last I saw... Now wait a minute. I did see her sometime later, driving - Ah, I think you'd better come over here to my office - quick! Caroline, get Mr. Cassidy for me!::[pause]::George Lowery: [Marion imagines another conversation] After all, Cassidy, I told you - all that cash! I'm not taking the responsibility! Oh, for heaven's sake! A girl works for you for ten years, you trust her! All right. Yes. You better come over.::Tom Cassidy: Well, I ain't about to kiss off forty thousand dollars! I'll get it back, and if any of it's missin' I'll replace it with her fine, soft flesh! I'll track her, never you doubt it!::George Lowery: Oh, hold on, Cassidy! I-I still can't believe - it must be some kind of mystery. I-I can't...::Tom Cassidy: You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers! She sat there while I dumped it out! Hardly even looked at it! Plannin'! And - even flirtin' with me!
Sheriff Al Chambers: Your detective told you he couldn't come right back because he was goin' to question Norman Bates' mother. Right?::Lila Crane: Yes.::Sheriff Al Chambers: Norman Bates' mother has been dead and buried in Greenlawn Cenetery for the past ten years!::Eliza Chambers: I helped Norman pick out the dress she was buried in. Periwinkle blue.::Sheriff Al Chambers: 'Tain't only local history, Sam. It's the only case of murder and suicide on Fairvale ledgers.
Norman Bates: [voice-over] Now mother, I'm going to uh, bring something up...::Norma Bates: [voice-over] Haha... I am sorry, boy, but you do manage to look ludicrous when you give me orders.::Norman Bates: [voice-over] Please, mother.::Norma Bates: [voice-over] No! I will not hide in the fruit cellar! Ha! You think I'm fruity, huh? I'm staying right here. This is my room and no one will drag me out of it, least of all my big, bold son!::Norman Bates: [voice-over] They'll come now, mother! He came after the girl, and now someone will come after him. Please mother, it's just for a few days, just for a few days so they won't find you!::Norma Bates: [voice-over] "Just for a few days"? In that dark, dank fruit cellar? No! You hid me there once, boy, and you'll not do it again, not ever again; now get out! I told you to get out, boy.::Norman Bates: [voice-over] I'll carry you, mother.::Norma Bates: [voice-over] Norman! What do you think you're doing? Don't you touch me, don't! NORMAN! Put me down, put me down, I can walk on my own...
Sam Loomis: You mean the old woman I saw tonight wasn't Mrs. Bates?::Sheriff Al Chambers: Now wait a minute, Sam, are you *sure* you saw an old woman?::Sam Loomis: Yes! In the house behind the motel! I called and I pounded, but she just ignored me!::Sheriff Al Chambers: You mean to tell me you saw Norman Bates' mother?::Lila Crane: It had to be - because Arbogast said so too. And the young man wouldn't let him see her because she was too ill.::Sheriff Al Chambers: Well, if the woman up there is Mrs. Bates... who's that woman buried out in Greenlawn Cemetery?
California Charlie: I'm in no mood for trouble.::Marion Crane: What?::California Charlie: There's an old saying, "First customer of the day is always the trouble!" But like I say, I'm in no mood for it, so I'm gonna treat you so fair and square that you won't have one human reason to give me...::Marion Crane: Can I trade my car in and take another?::California Charlie: Do anything you've a mind to. Bein' a woman, you will. That yours?::Marion Crane: Yes, it's just that - there's nothing wrong with it. I just...::California Charlie: Sick of the sight of it! Well, why don't you have a look around here and see if there's somethin' that strikes your eyes, and meanwhile I'll have my mechanic give yours the once over. You want some coffee? I was just about...::Marion Crane: No, thank you. I'm in a hurry. I just want to make a change, and...::California Charlie: One thing people never oughtta be when they're buyin' used cars, and that's in a hurry. But like I said, it's too nice a day to argue. I'll uh - shoot your car in the garage here.
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