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Psycho Filme

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Psycho Filme

Psycho ist eine US-amerikanische Horror-Thriller-Filmreihe. Es wurden vier Filme veröffentlicht. Psycho II (), 59 % (34 Kritiken), 6,5 ( Bewertungen). Psycho III (), 58 % (19 Kritiken), 5,4 ( Bewertungen). Psycho IV – The Beginning (), -, 5,5 ( Bewertungen). Psycho (), 38 % (78 Kritiken). Preisgekrönte FilmeWeiterstöbern · One Hour Photo · Die Haut, in der ich wohne · Psycho · Memento · The Invitation · Caché · Späte Wut · Time Share. American Psycho. 4,3 von 5 Sternen · Prime Video. 0,00 € mit einer Prime-Mitgliedschaft. In der Hauptrolle: Christian.

Psycho Filme Inhaltsverzeichnis

Auf der Suche nach Psycho Filmen? Finde die besten Psycho Horrorfilme in unserer Top 25 Liste sortiert ✅ Mit Review ✚ Trailer auf ☆ Brillant vertrackter Psycho-Horror-Thriller, in dem zehn Charaktere in einem Motel einem mörderischen Spiel ausgeliefert sind. von James Mangold mit John​. 50 wirklich gute horror-/psycho filme!! - das gewisse etwas:). Richtig gute Psycho-Thriller lassen uns kalten Angstschweiß den Rücken runterlaufen. Kein Wunder: Statt mit stumpfer Kettensäge, gehen die. Preisgekrönte FilmeWeiterstöbern · One Hour Photo · Die Haut, in der ich wohne · Psycho · Memento · The Invitation · Caché · Späte Wut · Time Share. American Psycho. 4,3 von 5 Sternen · Prime Video. 0,00 € mit einer Prime-Mitgliedschaft. In der Hauptrolle: Christian. Psycho ist eine US-amerikanische Horror-Thriller-Filmreihe. Es wurden vier Filme veröffentlicht. Psycho II (), 59 % (34 Kritiken), 6,5 ( Bewertungen). Psycho III (), 58 % (19 Kritiken), 5,4 ( Bewertungen). Psycho IV – The Beginning (), -, 5,5 ( Bewertungen). Psycho (), 38 % (78 Kritiken).

Psycho Filme

Juni ein packender, vielschichtiger Psycho-Horror-Thriller in den deutschen Kinos, dessen bedrückende Atmosphäre und intelligente Story. Richtig gute Psycho-Thriller lassen uns kalten Angstschweiß den Rücken runterlaufen. Kein Wunder: Statt mit stumpfer Kettensäge, gehen die. American Psycho. 4,3 von 5 Sternen · Prime Video. 0,00 € mit einer Prime-Mitgliedschaft. In der Hauptrolle: Christian. Psycho Filme

In Psycho , he can be seen through a window—wearing a Stetson hat —standing outside Marion Crane's office. Others have suggested that he chose this early appearance in the film in order to avoid distracting the audience.

The murder of Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of cinema. As such, it spawned numerous myths and legends.

It was shot from December 17—23, , after Leigh had twice postponed the filming, firstly for a cold and then her period. The combination of the close shots with their short duration makes the sequence feel more subjective than it would have been if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as "transferring the menace from the screen into the mind of the audience".

To capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the shower head were blocked and the camera placed a sufficient distance away so that the water, while appearing to be aimed directly at the lens, actually went around and past it.

The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled " The Murder ".

Hitchcock originally intended to have no music for the sequence and all motel scenes , [70] but Herrmann insisted he try his composition.

Afterward, Hitchcock agreed it vastly intensified the scene, and nearly doubled Herrmann's salary. There are varying accounts whether Leigh was in the shower the entire time or a body double was used for some parts of the murder sequence and its aftermath.

In an interview with Roger Ebert and in the book Alfred Hitchcock and the Making of Psycho , Leigh stated she was in the scene the entire time and Hitchcock used a stand-in only for the sequence in which Norman wraps Marion's body in a shower curtain and places it in the trunk of her car.

Riggs says that this is when she and Leigh became acquainted. As you know, you could not take the camera and just show a nude woman, it had to be done impressionistically.

So, it was done with little pieces of film, the head, the feet, the hand, etc. In that scene there were 78 pieces of film in about 45 seconds. A popular myth emerged that ice-cold water was used in the shower scene to make Leigh's scream realistic.

Leigh denied this on numerous occasions, saying the crew was accommodating, using hot water throughout the week-long shoot.

This was refuted by several figures associated with the film, including Leigh, who stated: "absolutely not!

I have emphatically said this in any interview I've ever given. I've said it to his face in front of other people I was in that shower for seven days, and, believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots.

Green , the assistant director, also refutes Bass' claim: "There is not a shot in that movie that I didn't roll the camera for.

And I can tell you I never rolled the camera for Mr. Commentators such as Stephen Rebello and Bill Krohn have argued in favor of Bass' contribution to the scene in his capacity as visual consultant and storyboard artist.

According to Bill Krohn's Hitchcock At Work , Bass' first claim to have directed the scene was in , when he provided a magazine with 48 drawings used as storyboards as proof of his contribution.

Krohn notes that this final transition is highly reminiscent of the iris titles that Bass created for Vertigo. In order to create an ideal montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he trimmed down in the editing room.

He even brought a Moviola on the set to gauge the footage required. The final sequence, which his editor George Tomasini worked on with Hitchcock's advice, however did not go far beyond the basic structural elements set up by Bass' storyboards.

According to Donald Spoto in The Dark Side of Genius , Hitchcock's wife, Alma Reville , spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink.

According to Patricia Hitchcock , talking in Laurent Bouzereau 's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath.

In either case, the postmortem activity was edited out and was never seen by audiences. It is often claimed that, despite its graphic nature, the shower scene never once shows a knife puncturing flesh.

Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters.

The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul.

She was like a virgin again, tranquil, at peace. Film theorist Robin Wood also discusses how the shower washes "away her guilt".

He comments upon the " alienation effect " of killing off the "apparent center of the film" with which spectators had identified.

Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget.

Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, [98] contrary to Hitchcock's request for a jazz score.

Film composer Fred Steiner , in an analysis of the score to Psycho , points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.

The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack.

There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene.

The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness.

Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous and most imitated cue in film music," [] but Hitchcock was originally opposed to having music in this scene.

Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion.

The second one, over the score for Torn Curtain , resulted in the end of their professional collaboration. To honor the fiftieth anniversary of Psycho , in July , the San Francisco Symphony [] obtained a print of the film with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra performed the score live.

This was previously mounted by the Seattle Symphony in October as well, performing at the Benaroya Hall for two consecutive evenings. Psycho is a prime example of the type of film that appeared in the United States during the s after the erosion of the Production Code.

It was unprecedented in its depiction of sexuality and violence, right from the opening scene in which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.

Another controversial issue was the gender bending element. Perkins, who was allegedly a homosexual , [] and Hitchcock, who previously made Rope , were both experienced in the film's transgressive subject matter.

The viewer is unaware of the Bates' gender bending, until, at the end of the movie, it is revealed that Bates crossdresses as his mother during the attempted murder of Lila.

At the station, Sam asks why Bates was dressed that way. The police officer, ignorant of Bates' split personality, bluntly utters that Bates is a transvestite.

The psychiatrist corrects him and says, "Not exactly". He explains that Bates believes that he is his own mother when he dresses in her clothes.

According to the book Alfred Hitchcock and the Making of Psycho , the censors in charge of enforcing the Production Code wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts.

Hitchcock held onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their positions: those who had previously seen the breast now did not, and those who had not, now did.

They passed the film after the director removed one shot that showed the buttocks of Leigh's stand-in. Because board members did not show up for the re-shoot, the opening stayed.

Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents torn-up note paper fully visible.

No flushing toilet had appeared in mainstream film and television in the United States at that time.

Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene. In Britain, the BBFC requested cuts to stabbing sounds and visible nude shots, and in New Zealand the shot of Norman washing blood from his hands was objected to.

In Singapore, though the shower scene was left untouched, the murder of Arbogast, and a shot of Norman's mother's corpse were removed.

The next year, a highly edited version missing some feet of film was submitted to the Irish censor. O'Hara ultimately requested that an additional seven cuts be made: the line where Marion tells Sam to put his shoes on which implied that he earlier had his trousers off , two shots of Norman spying on Marion through the key-hole, Marion's undressing, the shots of Marion's blood flowing down the shower, the shots of Norman washing his hands when blood is visible, incidents of multiple stabbings "One stab is surely enough," wrote O'Hara , the words "in bed" from the Sheriff's wife's line "Norman found them dead together in bed," and Abogast's questions to Norman about whether he spent the night with Marion.

The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the time. It was not entirely original as Clouzot had done the same in France for Diabolique.

However, after the first day, the owners enjoyed long lines of people waiting to see the film. Hitchcock did most of the promotion himself, forbidding Leigh and Perkins to make the usual television, radio, and print interviews for fear of them revealing the plot.

The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away plot details before stopping himself.

It is "tracked" with Herrmann's Psycho theme, but also jovial music from Hitchcock's comedy The Trouble with Harry ; most of Hitchcock's dialogue is post-synchronized.

The trailer was made after completion of the film, and because Janet Leigh was no longer available for filming, Hitchcock had Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview.

Because the title Psycho instantly covers most of the screen, the switch went unnoticed by audiences for years. However, a freeze-frame analysis clearly reveals that it is Miles and not Leigh in the shower during the trailer.

Percy , was murdered. As her parents slept mere feet away, she was stabbed a dozen times with a double-edged knife. In light of the murder, CBS agreed to postpone the broadcast.

As a result of the Apollo pad fire of January 27, , the network washed its hands of Psycho. Shortly afterward Paramount included the film in its first syndicated package of post movies, "Portfolio I".

Following another successful theatrical reissue in , the film finally made its way to general television broadcast in one of Universal's syndicated programming packages for local stations in Psycho was aired for 20 years in this format, then leased to cable for two years before returning to syndication as part of the "List of a Lifetime" package.

Psycho has been rated and re-rated several times over the years by the MPAA. Later, when the MPAA switched to a voluntary letter ratings system in , Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" Mature Audiences.

DiscoVision first released Psycho on the LaserDisc format in "standard play" 5 sides in , and "extended play" 2 sides in October This THX-certified Widescreen 1.

For the DVD release, Laurent Bouzereau produced a documentary looking at the film's production and reception. Universal released a 50th anniversary edition on Blu-ray in the United Kingdom on August 9, , [] with Australia making the same edition with a different cover available on September 1, This release marked the first time that the "Uncut" theatrical version was released on home video in 60 years.

Initial reviews of the film were mixed. While the film did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".

Lejeune was so offended that she not only walked out before the end but permanently resigned her post as film critic for The Observer.

Janet Leigh has never been better", "played out beautifully", and "first American movie since Touch of Evil to stand in the same creative rank as the great European films", respectively.

Mainstream audiences enjoyed the film, with lines stretching outside of theaters as people had to wait for the next showing. This, along with box office numbers, led to a reconsideration of the film by critics, and it eventually received a large amount of praise.

In the United Kingdom, the film broke attendance records at the London Plaza Cinema, but nearly all British film critics gave it poor reviews, questioning Hitchcock's taste and judgment.

Reasons cited for this were the critics' late screenings, forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.

Time magazine switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative" and "masterly", and Bosley Crowther put it on his Top Ten list of The site's critical consensus states, "Infamous for its shower scene, but immortal for its contribution to the horror genre.

Because Psycho was filmed with tact, grace, and art, Hitchcock didn't just create modern horror, he validated it. Psycho was criticized for causing other filmmakers to show gory content; three years later, Blood Feast , considered to be the first " splatter film ", was released.

In Psycho , Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it presents "clarity and fulfillment" of romance.

The past is central to the film; the main characters "struggle to understand and resolve destructive personal histories" and ultimately fail.

The myth does not sustain with Marion, who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's flowers, but they are only "reflected in mirrors, as images of images—twice removed from reality".

In the scene of Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "Like the eye of the amorphous sea creature at the end of Fellini's La Dolce Vita , it marks the birth of death, an emblem of final hopelessness and corruption.

Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness.

There exists among Psycho ' s secondary characters a lack of "familial warmth and stability", which demonstrates the unlikelihood of domestic fantasies.

The film contains ironic jokes about domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her buried in the swamp.

Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly connubial" relationship, a development that Marion is denied.

He has "an infantile and divided personality" and lives in a mansion whose past occupies the present. Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room.

He is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace" and as a result kills Marion to preserve his past.

Brill explains, " 'Someplace' for Norman is where his delusions of love, home, and family are declared invalid and exposed. Light and darkness feature prominently in Psycho.

The first shot after the intertitle is the sunny landscape of Phoenix before the camera enters a dark hotel room where Sam and Marion appear as bright figures.

Marion is almost immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she enters her bedroom.

When she flees Phoenix, darkness descends on her drive. The following sunny morning is punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in near darkness.

Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit cellar's exposed light bulb shining on the corpse of Norman's mother.

Such bright lights typically characterize danger and violence in Hitchcock's films. The film often features shadows, mirrors, windows, and, less so, water.

The shadows are present from the first scene where the blinds make bars on Marion and Sam as they peer out of the window.

The stuffed birds' shadows loom over Marion as she eats, and Norman's mother is seen in only shadows until the end. More subtly, backlighting turns the rakes in the hardware store into talons above Lila's head.

Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman's sunglasses, and her hands as she counts out the money in the car dealership's bathroom.

A motel window serves as a mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone booth, when Arbogast phones Sam and Lila.

The heavy downpour can be seen as a foreshadowing of the shower, and its cessation can be seen as a symbol of Marion making up her mind to return to Phoenix.

There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments that Marion eats like a bird.

The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being British slang for a desirable woman.

Psycho has been called "the first psychoanalytical thriller. In , the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.

Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was featured as number four on the list of Bravo Network's Scariest Movie Moments, [] whilst the finale was ranked number four on Premiere ' s similar list.

Crazy Credits. Alternate Versions. Rate This. Director: Alfred Hitchcock. Writers: Joseph Stefano screenplay by , Robert Bloch based on the novel by.

Available on Amazon. Added to Watchlist. From metacritic. November's Top Streaming Picks. The Core of Horror. Top Movies Bucket List. In Memoriam Stars We've Lost.

Action your life. Favorite Films of All Time. Beste svart-hvitt filmer. Best horror movies at the 20th century.

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Top Rated Movies 40 Nominated for 4 Oscars. Edit Cast Complete credited cast: Anthony Perkins Norman Bates Vera Miles Lila Crane John Gavin Sam Loomis Janet Leigh Marion Crane Martin Balsam Milton Arbogast John McIntire Sheriff Al Chambers Simon Oakland Fred Richman Frank Albertson Tom Cassidy Patricia Hitchcock Caroline as Pat Hitchcock Vaughn Taylor George Lowery Lurene Tuttle Chambers John Anderson California Charlie Mort Mills Edit Storyline Phoenix office worker Marion Crane is fed up with the way life has treated her.

Edit Did You Know? Goofs When Norman suggests Arbogast to join him while he changes sheets, Arbogast notices Norman pause and then move past the first cabin, after which he spots a sitting figure of a lady in the window of the house, whose shadow actually appears to be standing without support.

Quotes Norman Bates : Where are you going? Marion Crane : I'm looking for a private island. En el juzgado, Lila, Sam y el sheriff Chambers se encuentran a la espera de escuchar a un psiquiatra que ha sido llamado para examinar a Norman.

El Dr. El psiquiatra dice que la "Madre" ya domina totalmente la mente de Norman. Sentado el interior de un calabozo, Norman piensa como "Madre". Ella lamenta haber condenado a su hijo, pero dice que los asesinatos fueron obra de Norman y no puede permitir que crean que ella era la culpable.

El guion fue relativamente fiel a la novela, con algunas adaptaciones de Hitchcock y Stefano. Green a Phoenix para explorar lugares de rodajes y filmar la escena de apertura.

Durante el rodaje, Hitchcock se vio obligado a repetir algunas tomas. Todos los gritos son de Leigh.

Lo he dicho en su cara delante de otras personas Este audaz recurso fue un sorprendente y desconcertante giro de los acontecimientos en Una ventana del motel sirve como espejo reflejando a Marion y Norman juntos.

En , Psicosis fue adaptado para tres libros de historietas de la Innove Corporation. Tras la muerte de su marido, Norma adquiere un hotel situado en la ciudad costera de White Pine Bay para que ella y Norman puedan comenzar una nueva vida.

De Wikipedia, la enciclopedia libre. Psicosis II Alfred Hitchcock cameo. Vera Miles como Lila Crane. Anthony Perkins como Norman Bates. Janet Leigh como Marion Crane.

John Gavin como Sam Loomis. Martin Balsam como Milton Arbogast. John McIntire como el sheriff Al Chambers. Simon Oakland como Dr. Fred Richmond.

Vaughn Taylor como George Lowery. Frank Albertson como Tom Cassidy. Lurene Tuttle como Eliza Chambers. John Anderson como California Charlie.

Patricia Hitchcock como Caroline. Walter Bacon como un miembro de la Iglesia. Frank Killmond como Bob Summerfield. Pat McCaffrie como un guardia policial.

Era como una virgen de nuevo, tranquila, en paz. Reproducir contenido multimedia. British Film Institute. Archivado desde el original el 16 de enero de Consultado el 5 de junio de Turner Classic Movies.

Consultado el 25 de abril de Box Office Mojo. Rotten Tomatoes. Consultado el 17 de abril de Library of Congress, Washington, D. Consultado el 8 de mayo de Consultado el 4 de agosto de Consultado el 26 de enero de Setiembre de Hitchcock, Welles.

Bright Lights Film Journal. Archivado desde el original el 13 de julio de Consultado el 13 de marzo de Enero de The Film Music Pantheon 3.

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3 Kommentare zu „Psycho Filme“

  1. Unendlich topic

    Ich entschuldige mich, aber es kommt mir nicht ganz heran.

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