Saturday, February 9, 2013

Psycho


For this week I watched Alfred Hitchcock’s Psycho. This film is a classic and, in many ways, the cornerstone for horror films. Like most horror stories, it begins normally enough. The characters live normal lives and have normal troubles. As Nickel says in Horror and the Idea of Everyday Life the characters we see are motivated by universal motives: money and love, for example. Marion Crane is compelled to steal $40,000 and flee for these two reasons. The characters in the movie, while investigating Marion’s disappearance operate on the assumption that the same motives prompted her death or kidnapping. That the murder of Marion Crane had no such cause is the basis of what makes Psycho so unsettling a movie. Though deplorable, had Marion Crane’s murder been motivated by greed, it would have been comprehensible. Norman Bates does not bend to any of the obvious human motivators and it is in this way that it becomes evidenced to us that Bates is an incomprehensible character, and thus a monster.

Nickel says that Psycho is so important to horror because it “offer[s] no moral reassurance that humans can dispel or effectively fight against the threats [it] present[s]” (19-20). I want to focus on this statement because I think it is the crux of a good and successful horror story. I also think that it helps explain why, as Nickel says, Carroll’s notion of the monster is far too narrow. Carroll’s definition of a monster lies in its fictionality. For this reason, he dismisses Psycho as a horror film. There exists no monster; Norman Bates is human, albeit an insane and murderous one. 

Norman Bates is monster because he is separate from our notion of humanity. He cannot empathize with us. Because Norman is a psychopath he is characterized by a lack of empathy and a lack of remorse. He cannot be reasoned with or persuaded to feel guilt or sympathy. Bates’ disposition is very abnormal and falls outside the realm of our everyday encounters. We, as humans, expect and desire to connect with others on an emotional level. When that emotional plane is inaccessible, it is as if we are encountering someone inhuman. Thus, at least in terms of our discussion of horror, Norman Bates is a monster.

In fact, what makes Norman Bates such a terrifying character is his failure to fit neatly within Carroll’s idea of the monster. The most worrisome aspect of his character is his superficial humanity. When we first encounter his character with his gangly limbs and large ears, he strikes us as boyishly eager and definitively unthreatening and perhaps even sheepishly charming. Of course, the reality is that he is not anything he seems to be, and this is what makes him truly scary.

In encountering Carroll’s monsters we know we are dealing with something outside the realm of humanity. Monsters are terrifying because they are unknown to us. We have never encountered them and are not sure how to defend ourselves against them. Norman Bates is the same way. We could not hope to understand or reason with him; he is foreign to us. The defining difference here though is that while Carroll’s monsters appear foreign to us, Norman Bates does not.  At least in encountering the supernatural we know we do not and cannot understand them. Norman appears like us and we expect him to be like us. The fact that he is not makes him doubly removed from our understanding. Our very lack of knowledge is concealed from us.

This breakdown in appearance has populated a host of horror movies in the past decade or so. Movies where aliens or monsters appear to be human, and thus deceive and destroy humanity play on the same fear Alfred Hitchcock exploits in this movie.

The character of Norman Bates, who suffers the delusion of possessing two personalities, also raises questions pertaining to our first week’s topic, identity. The shrink who talks to ‘Norman’s mother’ claims that, “Norman Bates no longer exists.” It was however his body and his diseased mind that committed at least six murders. Who then is held culpable? Was Norman Bates acting of his own volition or does his insanity free him from responsibility. I think further of discussion of this movie will be extremely helpful in tying together our past weekly themes. 

3 comments:

  1. You are certainly right about the fact that in the film its hard to identify with norman. First of all he just plain comes off as creepy from the outset of the film and socially awkward to say the least. Nearly every scene that he is in is unsettling in some way as the other characters that interact with him, whom the viewer is made to feel comfortable with, seem uncomfortable in their interactions with him. What is interesting, as you pointed out, is the notion of the monster. What is so interesting about this particular film, is it does a very good job of making the very mundane utterly terrifying. A normal motel on the side of a road becomes a psychos twisted playground. A house on a hill is convincingly portrayed as a object of fear and anxiety for the viewer. An unremarkable concierge quickly uneases and frightens the viewer. Much like the uncanny valley, this film has a very interesting way of making the seemingly normal feel slightly unsettling. In this way Norman who is both a normal, albeit awkward individual, and a murderous psychopath is the ultimate monster because he is at the same time something completely unremarkable and stranger than fiction.

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  2. I agree with you that Norman is the "monster" of Psycho. I too find Carroll's description of the necessary monster far too stringent. I've seen plenty of films that were truly terrifying that didn't include a monster, and plenty that did which were incredibly boring. In fact, it's usually horror movies that don't include a monster that keep me awake and paranoid the night after watching it. If Nickel's description of a horror film is accurate, and the aim is indeed to make viewers question their dependence on the perhaps untrustworthy outside world, I don't think a monster is required. Psycho is just one example. Norman is not a giant or a cyclopse, yet his function is the same as any monster - to make people wonder about both the possibility of this scenario and to make them fear living in a society where this could happen. Movies involving kidnappings are just as scary, if not scarier, than a movie with a giant man-eating beast. I agree that Carroll's idea of the conventional monster is too narrow, and should include characters who, like Norman, are entirely plausible and worlds scarier.

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  3. I think the difference we are trying to get at is not a difference at all. Although it may seem that Carroll's description of a monster is too narrow, I do not believe it is. Like you said, Carroll's description of a monster is "something outside the realm of humanity." Well if humanity is what we generally understand as moral behavior and the human actions we all partake in, then Norman Bates is a monster. It is like a werewolf or vampire kind of monster. We think they are human and normal, but we find out that something is totally off and inhuman about that person or monster. Just like a werewolf changes from a human to a wolf-beast-thing, Norman Bates switches from being the unsuspecting hotel manager to a knife carrying psychopath who thinks he is his mother. The visual change may be not be as noticeable, but all of the characteristic changes are obvious. So it may be that Carroll's ideas are correct, but her definition to restricting, but I believe that she does in fact leave room for "human" monsters.

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