Psycho’s tense horror conundrum represents what Hitchcock really capable of; this widely-known film is a particular, groundbreaking fright.
Psycho brilliants sum-up ending is all about what people keep admiring until now. The psychological horror aspect is strong, and either the mystery about how people continue missing.
After Phoenix secretary, Lila Crane run away with $ 40.000 on her hands where she supposedly banks it, news has arisen, the days changing and everyone in the town starting to learn that she may not run away anymore by now but somehow, she misses. Thus, her lover and her sister team up to do whatever it can to find Lila, cooperate with a reliable detective named Arbogast that may lead to a big clue. Later, he knows that something not right has happened.
Alfred Hitchcock sure has a clever way to vague what audiences may think about what’s going on. The developing mystery is hanging up where Lila decided to take some rest in the quite isolated hotel ambushed from the town. She meets Norman Bates, the owner who is rather shy and eventually seems secretive and sounds peculiar. You know that scene where two of them chatting in the Norman office when suddenly the movie moods become significantly uneasy.
For years, Hitchcock has been worshiped by many, and I do understand. Psycho is like a grandmother to your blown-up whiz movie, and I strongly sure that the industry had learned a lot about how to deliver some slick psychological twist from this.
Psycho is frightening, it has got chill, the classic score is intense, the lines are as well as intriguing. And the superb art of directing by the one and only Alfred Hitchcock is pretty worth the nickname of his: Master of Suspense.