Psycho Analysis

PSYCHO ANALYSIS – Further Education // A Level Film Studies FM1 – Mise-en-Scene | Cinematography [25^th September ‘14] – D.S. Parkinson

The extract from the 1960 film ‘Psycho’, by Alfred Hitchcock, that I will be analysing is the parlour scene; the first shot of significance in this extract I will study is the low angled, and low lighted, shot of an imposingly cheerful Norman Bates. In this shot the mise-en-scene is very important as, like in many of Hitchcock’s films, the director positions birds of prey around Norman which carry connotations of a predator that is repressing it’s instinctive, almost lustful, desire to kill. The source of light in the shot – the lamps, also are important as they are positioned by the window perhaps lighting up the outside world, or an exit, reinforcing the darkness inside the room be it the furnishings or Norman himself. Furthering this point, the curtains are dark – perhaps signifying that the darkness has the ability to overpower the light… by closing the curtains or through metaphor by Norman killing Marion. At the time of this shot Marion has already ‘scoped’ out the room, studying the birds in particular as shown in previous P.O.V shots – once again highlighting the importance of the predators and perhaps hinting that Marion is the prey. Another piece of mise-en-scene that is relevant is that Norman’s shirt is tucked, which is neat. Neatness goes hand in hand with OCD and an obsessive personality is a key characteristic of a serial killer but to add a contrast his top button is not buttoned which shows the divide in his personality. All this is put in place to provide a sense of tension and a feeling of uncertainty to the audience.

The next shot shows Marion enter the room and pans from the doorway to Marion’s seating area purposely positioning her closer to the audience whilst keeping Norman in the foreground gives an odd characteristic of titan-like size, as he still manages to be larger than Marion even though he is in the distance. An important thing to note about the acting is that Janet Leigh purposely avoids eye contact with Anthony Perkins perhaps showing that she is scared of feeling intimated or that she senses something is odd about Norman. This ambience of a dark quirkiness surrounding Norman is shown in this shot by Norman looking at Marion even when she is not looking at him – perhaps studying her or perhaps out of lust, either way a sinister smile accompanies his glance. These cinematic tricks, especially the random smirk, all increase the level of uncertainty and tension that have been established previously.

The following mid-shot that is slightly low angled shows Norman in a tight space connoting feelings of discomfort, which is in direct contrast which the next shot in which Marion is shown in a well-lit open space seeming relatively comfortable. Their body language furthers this contrast of comfort as Norman sits hands clenched and Marion is rather free flowing in her movements. A series of mid-shots is formed as the two carry on their conversation with nothing new developing, bar a moment of physical connection with the birds as Norman grabs one saying his taxidermy is “more than just a hobby.” [Hinting again that it could perhaps be a source of inspiration or perhaps trying to explain his fondness of death], until…

Marion mentions Norman’s Mother in a bad light.