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.
A new sheriff in town starts making trouble for Norman & Mother once there's a search for Jim Blackwell. Meanwhile, Romero edges closer & closer to White Pine Bay.
With Uncle Caleb in the basement, Norman has to navigate between Chick & Mother to figure out how best to handle the situation.
Norman goes on a double date, though clearly he has a thing for Madeleine Loomis.
Is this to be a fatal attraction?
Norman & Mother continue their relationship beyond the grave.
Don’t Go In The House. 1979. Directed by Joseph Ellison. Screenplay by Ellison, Ellen Hammill, & Joe Masefield.
Starring Dan Grimaldi, Charles Bonet, Bill Ricci, Robert Osth, Dennis M. Hunter, John Hedberg, Ruth Dardick, Johanna Brushay, Darcy Shean, Mary Ann Chinn, & Lois Verkruepse. Turbine Films Inc.
Rated R. 82 minutes.
Still banned in certain countries to this day, Don’t Go In The House was filmed in 1979 then released the following year to become one of the infamous Video Nasties. It ended up on the original list, though managed to avoid prosecution after certain cuts were made and the film saw a release in ’87. And while there’s a certain part of me which understands why some might find themselves horrified by this movie, it isn’t all shock and awe. Of course, for a movie about a man who burns women to death in his basement with a flame thrower it’s natural there are gruesome scenes. The entire concept and the plot is truly horrifying, a reason why this film has endured in the hearts of genre fans for years. Quentin Tarantino for one is a huge fan of the film having played it at his film festival several times, as well as mentioning the movie had an impact on him when he first saw it. Because for a slasher horror with a gimmick this doesn’t back down. It both delivers the goods any slasher demands, serving up lots of the sub-genre killing we’d expect, and also provides a decent enough view into the lead character, whose complex psychology brings about a series of destructive consequences that eventually lead to a violent catharsis. Underneath its meager
slashburn-and-kill premise, Don’t Go In The House looks at a man damaged by the psychopathy of his mother, and also encapsulates the end of a decade into the beginning of another with the ’70s fading in the rear-view while 1980 reared its head.
Working at an incinerator, Donny Kohler (Dan Grimaldi) witnesses a man almost burn to death in front of him. Freezing, unable to help, he’s ostracized by his boss. A co-worker named Bobby (Robert Osth) befriends him to try and make sure Donny doesn’t blame himself for anything. But while Bobby tries to be Donny’s buddy, the latter is busy out doing other things. Or well, he stays at home a lot. Because down in his basement Danny decided to build a special room. It’s lined with steel sheeting. In the middle hangs a chain. And at night Danny brings women home, chains them in his little room, then sets them on fire with a flamethrower.
See Danny has issues with his mother – the one sitting dead and dried up in his house, the one he still talks to casually, every day. The more women he takes home and burns to death, the crazier he gets. And going to the disco with Bobby just can’t seem to get him out of the habit.
For a time without the elaborate special effects of today, Ellison does a good job in ’79 making directorial choices so as to not have to focus on anything that might look less than stellar. Sure, it still looks like a film out of the late ’70s, in both good and bad ways. But the burnings especially are carried out with precision to make the scenes more effective, rather than having them come off as disingenuous, making things look terrible and campy, in the wrong sense.
There’s an interesting change in the film where we go from disco music to rock. This is ultimately the shift from the ’70s to the ’80s. Granted, there was plenty electronic music and other New Wave stuff to come from the 1980s, but what it means is the death of disco, a shift – even if only part of the way – back towards rock n’ roll again. A new era begins, the disco inferno burning out with Donny’s flamethrower. Finally, it is also the burning in effigy of his mother. Naturally those are what his victims stand in for, the memory of her, the things she did to him as a boy. Yet further than that the shift from disco music Donny played earlier to the rock n’ roll he falls asleep to, before having hallucinations of his mother and burned corpses, is another symbolic gesture of his departure from dear old mom. Similar to Norman Bates, this psycho has himself a mommy problem. Obvious enough, but the script and the direction together make this an impressive character study of a man driven to sick compulsions all due to the relationship he had with an abusive, domineering mother.
The film’s brutality is astounding. And yet there’s only truly graphic scene throughout the entirety, which is the first time Donny tries out his little fire room, a.k.a the oven, as I call it. We get what would come after this as the obligatory 1980s slasher horror nudity, but then comes the savagery when he burns the woman in his room alive. Even while it’s graphic, the editing and Ellison’s choices as director make the whole burning sequence disturbingly memorable without any gore. And like I mentioned the effects come off well because of this effort. Even though there’s plenty more to creep us out the movie’s violent horror elements hinge on this kill. Upon revisiting this one, a major reason why it left an impression on me is because for what’s technically a slasher sub-genre flick, Ellison’s movie drums up tons of terror with only one actual graphic murder. Usually these types of horrors are based on a body count. Instead of going with what would become a major trend in the ’80s, Ellison kicks off an important decade for the genre with one of the most atypical and enjoyable slasher movies out there.
For me, this is one of those movies that only gets better every time I see it. Almost every time I forget about how eerie the dream sequences are, then they hit me like a ton of bricks. Don’t Go In The House has more to it than meets the eye. It presents as another Don’t-titled generic horror that’s ready to offer up all the same trappings of most every film in the sub-genre. Director-writer Joseph Ellison went another way, studying the character of a fragile young man that turned into an adult killer while also ushering one decade out and saying hello to the next one.
This little flick has the goods and is all too often passed over as a lesser offering in horror. I say that is nonsense. Give this a chance, look at it closer. But mostly, let it wash over you, from the disco to the dark subject matter and the fire – oh, the fire! It’s all glorious.
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. 1960. Dir. Alfred Hitchcock. Written by Joseph Stefano; based on the novel by Robert Bloch.
Starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, and John McIntire. Universal Studios Home Entertainment.
Rated PG. 109 minutes.
★★★★★ (Blu ray release)
For those who don’t know, Psycho tells the tale of Marion Crane who decides to take off on a whim with $40,000 trusted to her by her boss. While tired on the road, Maron stops off at the Bates Motel to get a room for the night. There, she meets a young man named Norman Bates; he lives up on the hill in the big house next to the motel. Norman seems fine, albeit a bit quirky, so Marion even has a low key supper with him at the motel.
However, Norman isn’t quite fine. See, Norman lives with his mother, just the two of them, and their relationship is, well – a bit odd to say the least. Once Marion goes missing, her sister, lover, and the police start sniffing around, and Norman starts to see a little more traffic at the Bates Motel – much to his dismay.
This was my first introduction to Alfred Hitchcock. It’s funny – the movie is rated PG, directed by one of the most famous (arguably the most famous) filmmakers of all-time, contains definitely the most famous murder scene ever filmed if not the most famous scene period, and it’s classified as a horror.
In fact, a lot of people would say Psycho is the most influential horror film of all time, giving rise to the modern slasher in some respects (you can’t totally give this film all the credit because other films like Peeping Tom, and much later John Carpenter’s Halloween, really were a large part of that as well).
I just find it amazing how Hitchcock was able to put such a disturbing story on film, including the infamous shower scene (though the scene itself really isn’t graphic especially in terms of modern audiences and how desensitized we all are from not only film but the barrage of insane videos we now see on everything from CNN to YouTube), and yet still keep the rating PG. Of course, the ratings system has changed a little between now and then. It’s still rather amazing.
The story of Psycho itself is incredible. I continually find it exciting even though I’ve seen it dozens of times, I know how things will play out, and yet viewing after viewing it holds up. I still feel a rush of panic for Norman (even though I clearly shouldn’t – a testament to both Bloch’s novel and Hitchcock’s filmmaking) as he tries to clean up Marion Crane’s room after Mother has had her fun. Just the way Perkins rushes around and frantically tries to cover things up. Just thinking about the time it was written, the time it was set, I love to imagine what it must’ve been like for serial killers pre-media frenzy surrounding people like Ted Bundy, Jeffrey Dahmer, the Green River Killer, et cetera. Poor Norman was ahead of his time. He didn’t know how these things were supposed to go. Watching him try to navigate the rough terrain of being a killer while still obviously being a fragile boy, almost a man-child, is really good stuff. It’s a disturbing tale, but Norman really does elicit both fear in us, as well as some form of pity; even on the most base of levels. And just the way in which Marion and Norman end up meeting, a real chance moment in time, is brilliant. The first time I saw the film, I was really surprised at how their two storylines converged, and suddenly it all became about Norman. Wonderful storytelling. No wonder Hitchcock was drawn to Bloch’s novel. Stefano really took the novel and turned into something his own, which Hitchcock in turn worked very well with; their picture of Norman Bates, as opposed to Bloch’s, turned the character into a much more sympathetic type person, and this really worked for the film’s plot quite well.
The entire film is one of those truly beautiful collaborative efforts. Everything here comes together to make a perfect movie. The cinematography, the sound, the script – I love it. Hitchcock weaved an intricate film here out of what could’ve been a simple effort from another lesser filmmaker.
For instance, on the Blu ray release from Universal there is a feature which looks at the infamous shower scene how it is presented in the finished film, and also a look at the scene without its music. Right there, it is so perfectly evident Psycho could not have been what it was if it hadn’t used all of its elements together to create the fear, shock, and tension. While the shower scene is still very disturbing without the score over top, there’s something extra that comes along with the score. In the quiet, you can hear Janet Leigh breathing, you hear the water falling from the shower head, all of it. With the score, you watch everything happen while the orchestral score behind the scene pounds out, creepy and loud, reinforcing all the stabs, the gasps, everything. Works so god damn well it’s fiendish.
As a film, Psycho is a perfect, flawless work of art. It isn’t hype. This is not a film you hear about all the time, being raved about and drooled over, just because it’s by Alfred Hitchcock, or just because it is considered classic. This is a magnificent piece of work, all around. There is no hype – what you see is what you get. Hitchcock was a master, no doubt. This film, while influential and all that, is just a cracking good piece of movie history. Full stop.
The Blu ray release from Universal Studios Home Entertainment is one of the better titles sitting on my shelf. It is packed to the brim with extras. Though I don’t care for the Truffaut interview (I think his films are wonderful but his opinions are often divisive in a negative way and, in my humble opinion, sort of bullshit at least when it comes to the original novel Psycho by Bloch), the rest of the features here are just so sweet.
There are the typical Making Of featurettes, however, the major one here goes through everything from the story, how it was adapted and found, et cetera, to pre-production, production, and post – the whole nine yards; it’s a 90-minutes documentary that is totally worth the time to watch. There’s a nice feature about the sound of the film, including how they restored everything for the Blu ray. My favourite, though, is the Shower Scene breakdown I mentioned before – you get to see the scene back-to-back in its finished form with the scene having the score taken out, as well as great little storyboards by Saul Bass. These are absolutely brilliant pieces of extras to include. Fascinating stuff. The commentary is done by Stephen Rebello, author of Alfred Hitchcock and the Making of ‘Psycho’.
All in all, this release deserves every single bit of 5 out of 5 stars. There’s no way it deserves any less; it needs more. There are enough features here to keep you long busy after purchasing Psycho. On top of that, the transfer is pristine, and you’ll marvel at how beautiful it looks in glorious black and white.
I recommend every fan of this movie, every Hitchcock fan, go get this Blu ray now, sit down, and love every last single solitary, picturesque moment of it. There is nothing like this film, even today, even when so many other great films are made. Psycho itself is a classic, and always will be. It deserves to be remembered until the end of human existence – it’s one of those films.
Read my review for the second sequel to the original, the underrated Psycho III.