After so much time, Norman Bates finally comes home. With Mother.
As Dylan & Emma struggle in the wake of revelations about Norman, former Sheriff Alex Romero heads straight for the station intent on being judge, jury, & executioner.
After Norman confesses & Sheriff Greene takes him into custody, it's up to Mother to get her boy out of a cell & back home.
Norma & Mother must come together closer after his kill at the hotel. At the same time, a body's dragged from the water nearby, which means trouble.
Trying to accept his insanity, Norman battles with his inner Norma, as Marion Crane's arrival at the motel comes with unexpected consequences.
While Norman loses track of mother, Dylan struggles in his new life with Emma because of the Bates family secrets.
Meanwhile, Marion Crane steals a briefcase full of money & heads to her lover Sam Loomis.
Psycho II. 1983. Dir. Richard Franklin. Screenplay by Tom Holland.
Starring Anthony Perkins, Vera Miles, Meg Tilly, Robert Loggia, Dennis Franz, and Hugh Gilin. Universal Pictures.
Rated 18+. 113 minutes.
There’s no debate to be had: Anthony Perkins IS Norman Bates. The way Perkins inhabits the role in the first two Psycho films is amazing. It’s particularly interesting to see Norman in Psycho II quite some time after his institutionalization, and to see how he is a little older, maybe a little wiser, or maybe not.
What we get is not only a story about Norman trying to re-enter society, but also a sort of look into what it’s like when any violent mentally ill criminal is deemed fit to be integrated back into a normal life after having undergone various psychiatric treatments. By no means a statement, but merely an examination; we sway back and forth with the story, as we’re not quite sure if Norman has really been rehabilitated, or if Mother is up to her old tricks again. It’s just as psychologically trying as the original Psycho, but not in the way it feels like Hitchcock; it simply frays on our nerves, as we try to figure Norman out, and events push us to one side then back to the other.
A particular scene where Norman is handed a large kitchen knife to cut a sandwich for a young girl who befriends him (very similar to his sandwich dinner with Marion Crane from the first film) becomes a very nervous few moments; we watch as Norman battles his subconscious, or possibly Mother whispering in his ears about how nice it might be to kill his young dinner guest. I enjoyed how they played with the idea of someone toying with Norman, but also with Mother being very present still in his mind.
One of the things I really enjoy about this sequel is the fact it relies on more than just Perkins as Norman Bates to really drive things. While the original Psycho did start off with Marion Crane before shifting to Norman, this movie gives us a couple other performances to enjoy as well.
Both Vera Miles and Meg Tilly did great jobs here with their characters. Tilly, as Mary Loomis, was just enough of an innocent type to sort of be drawn in by Bates’ charm while also still remaining a bit of an independent and tough young woman. I liked how Mary Loomis was sympathetic towards Norman because it created this tension where you sort of teeter on the edge of wondering exactly what his intentions towards her are really. Their relationship is one of the real interesting parts about this underrated sequel.
Vera Miles, playing Lila Loomis, is spectacular. She is every bit a wicked and wild old woman here. Her character fight very well with the plot, as you’d naturally expect some of Norman’s victims to have family who would care enough to protest his release. Miles is a fantastic actress. She really plays a great character to provide some of the new plot developments here in Psycho II, and had they cast a lesser actress in the part it may not have worked as well. Miles gives us enough venom in her portrayal of Lila Loomis to really sell the part.
All in all, I would say this movie is a 4 out of 5 stars. The plot is really great, and relevant to modern society (how many killers are let loose on the streets again because they got an insanity plea & supposedly ‘served their time’ in an institution somewhere? Plenty!). Perkins, again and as always, is a revelation as Norman Bates. As I’m also a fan of the third movie in the series, Psycho III (see my review here), each time Perkins plays the character he seems to hone Norman into something more intricate and full of little idiosyncrasies. A treat to see the same actor come back to a character and not only do a good job again, but also add something more to the character with each turn.
My only reason for not giving the film closer to a perfect rating would be the whole situation with the boy getting killed in the cellar. It’s hard for me to believe that even though his young lady friend lies for him that the police would not take Norman into custody until they figured out some more about the situation. I mean, the man has been in psychiatric confinement for 22 years after killing a few people, he goes back to live in the exact same house where all the violence really happened, and then when someone gets murdered right in the cellar of this house they just let him stay free walking around on the word of some waitress? That’s my only problem with the film, and it’s not something that ruined it for me, just a little nitpick.
Other than that, I love Psycho II, and it’s criminally underrated especially when many horror franchises keep churning out sequels that get worse and worse ever year. This one is a keeper. A lot of people expected a direct copy of Hitchcock in some sense with this sequel, and unfortunately that was never going to happen. Nobody is able to replicate Hitchcock, even those who closely emulate him with their own personal style, and it’s silly to want another movie exactly like the first one. This is a very natural, organic sequel. It plays well both as a horror film, and also as a real psychological thriller, too. I really had no idea exactly what was going to happen until the very end – speaking of which, the end is also one of the great aspects of the film. It not only gives us a little surprise, setting things up for a further look at Norman Bates, it opts to make more of the story and expand things. No longer is Norman tied completely to the events of the original film, or his own story as we know it so to speak, and it kind of opens up the whole concept for further plots. Of course there’s Psycho III, but even if they hadn’t gone on to make another one I’m still satisfied with the little twists, and most certainly how thrilling the climax of the film came off.
You can do much worse in terms of horror sequels – this is one of the best, and absolutely one of the more underrated sequels in any of the big horror franchises. Norman Bates is an incredible character. Psycho II does an admirable job with his legacy. Plus, there’s a bit more hack and slash going on here – sure to appease any genre enthusiast.
Highly recommend you seek this out and enjoy it to the fullest!
Psycho III. 1986. Dir. Anthony Perkins. Screenplay by Charles Edward Pogue; based on characters by Robert Bloch.
Starring Anthony Perkins, Diana Scarwid, Jeff Fahey, Roberta Maxwell, Hugh Gillin, and Lee Garlington. Universal Pictures.
Rated 18+. 93 minutes.
If you haven’t yet – read my Blu ray review for Alfred Hitchcock’s original 1960 classic Psycho.
With Anthony Perkins directing a Psycho sequel and also serving as Norman Bates, I can’t imagine anything better. A highly underrated entry into this franchise. This absolutely does not get enough credit. To no surprise from me – I loved the first sequel to the original, and a lot of people despise it, so I guess Norman just isn’t appreciated anymore.
When Norman inevitably kills his new motel clerk Duane (a young Jeff Fahey), we finally see truly for the first time how Norma’s scarred son has been compelled to kill by his dominant mother. He yells at her that he has the same terrible blood in his veins, and it makes him do what he does. Perkins uses Woody Woodpecker on the television interestingly, as Norman cries to his mother to stop laughing at him (which of course is Woody’s iconic laugh), and it’s so very evident more than ever before how his world is a mixture of reality with a heavy dose of surreal experiences; we’ve already known this, but for the first time it’s almost spelled out in front of us, as he can’t even tell the difference between his mother’s laugh (one he no doubt knows all too well), and a cartoon bird on the television.
There are so many little pieces like that which make Psycho III better than its low ratings and generally negative reviews lead on.
Norman finally meets someone to love in a disheartened girl who has left her convent where she was poised to become a nun by the name of Maureen; unfortunately for Norma at first, she reminds him of Marion Crane.
There are two really interesting bits Perkins throws in involving Maureen. The first is when Norman sees her in the diner, and she leans down towards the floor behind the stool she sits on, but he can only picture Marion laying dead in the shower after he and mother killed her. Soon he snaps back to reality, and leaves the diner quickly. Maureen later ends up at the motel, and tries to kill herself by slitting her wrists in the bathtub. Norman is poised to kill her, all dressed up like mother again, but he finds her with her wrists open in the water, and Maureen does not see Mrs. Bates: she sees the Virgin Mary holding a silver crucifix where the knife should be.
One of the best moments come when Norman accidentally nudges Maureen over the stairs in his house, and she slips down over them only to fall against a statue with a sharp object protruding out of it. The statue is of Cupid, and Perkins zooms in on the arrow after it has killed Maureen, which drips blood; Cupid has literally shot her, and in a way it has also pierced Norman by taking away the only woman he ever loved. Here, Cupid shows us how everything in Norman’s world is backwards; especially love.
My only complaint about the film is at the very end when Norman sits in a police car being taken away, and he hauls out a little treat he was hiding to caress, as he gives a look very reminiscent to his final scene in the original Psycho. I find it a little hard to believe the police wouldn’t have found this on him (I won’t tell you what it is), but then again, it’s a horror movie, and a certain amount of belief has to be suspended at times to properly enjoy one. Overall, it didn’t ruin anything for me.
4 out of 5 stars for a great entry into the Psycho franchise. People say that Anthony Perkins tried to imitate Hitchcock in this film, but I frankly cannot see it. There’s a huge difference in visual style, and a very glaring difference in storytelling.
Norman is a little more slasher in this film, but why shouldn’t he be? At the end of Psycho II, we are introduced to someone who could be Norman’s real mother right before he kills her, so naturally the man is going to be even worse off than ever before with shocking information like that. Of course, the story is a long, winding road, and that isn’t every side, but isn’t a family history like Norman’s bound to drive ANYONE a little mad?
After all, we all go a little mad sometimes…