Psycho Case

A dark screen and piercing sounds from the orchestra meet you as the viewer of the well-known and well-made horror film, Psycho. The powerful synchronization of the images and sounds are an effective way of hinting at the aggression, which surfaces later in the film. Dissonance rings loud from the orchestra, creating tension and a suspense that carries throughout the film. The opening credits capture the attention of the viewer immediately as words form on the screen before quickly and violently splitting. This dramatic beginning is a wonderful foreshadowing of the ugly murders and revelations to come. The horizontal and vertical splitting of the words on the screen, in addition to the quick transitions between them, allude to the identities that will be split and jumbled throughout the course of the film. The opening credits are designed very purposefully along with the whole of Hitchcock's masterpiece. Hitchcock does not waste time in setting the stage for a film that invites the viewer to participate in the overarching theme of good versus evil. Hitchcock is meticulous in directing every second of the film: every camera shot, every noise is used to begin a battle within the mind of the viewer.

The opening credits not only allude to the character development, but also to a thematic effect that takes place within the viewer's judgment. The viewer battles through the concepts of good and evil through the development of three characters - Marion, Norman, and the psychiatrist. Hitchcock skillfully draws the viewer into scenes with these characters in which the line between good and evil becomes blurred. Hitchcock places each character in the film in such a way that the viewer becomes emotionally invested in each action. Hitchcock uses this emotional attachment to remove morality from film and leave the viewer morally indecisive.

Marion is first portrayed sympathizing with her restless love affair with Sam and in the next scene at her office being antagonized by a client. It is clear that Hitchcock presents Marion as a victim so that the viewer will sympathize with her. Once emotionally connected to Marion, the viewer begins to experience her frustrations and fears with her. I found myself feeling sad with Marion as I witnessed the client's brash comments. By initially portraying Marion as a victim, Hitchcock makes it difficult to consider her act of larceny a crime. The viewer sympathizes with her as she leaves town in hopes of starting a new life with Sam. Objectively, Marion should be labeled as a criminal, but instead is framed as a victim.

As Marion flees town, it is easy to feel nervous along with her as the policeman approaches. Hitchcock maintains this involvement with Marion through voiceovers and the way in which he portrays the scene through Marion's eyes. Even though the viewer knows she has committed a crime and an immoral act, the viewer naturally sympathizes with her rather than judging