New York Times (17/Jun/1960) - Hitchcock's 'Psycho' Bows at 2 Houses
(c) The New York Times (17/Jun/1960)
- keywords: Alfred Hitchcock, Anthony Perkins, Janet Leigh, John Gavin, Martin Balsam, Psycho (1960), Vera Miles
Hitchcock's 'Psycho' Bows at 2 Houses
By BOSLEY CROWTHER
You had better have a pretty strong stomach and be prepared or a couple of grisly shocks when you go to see Alfred Hitchcock's "Psycho," which a great many people are sure to do. For Mr. Hitchcock, an old hand at frightening people, comes at you with a club in this frankly intended blood-curdler, which opened at the DeMille and Baronet yesterday.
There is not an abundance of subtlety or the lately familiar Hitchcock bent toward significant and colorful scenery in this obviously low-budget job. With a minimum of complication, it gets off to a black-and-white start with the arrival of a fugitive girl with a stolen bankroll at an eerie motel.
Well, perhaps it doesn't get her there too swiftly. That's another little thing about this film. It does seem slowly paced for Mr. Hitchcock and given over to a lot of small detail. But when it does get her to the motel and apparently settled for the night, it turns out this isolated haven is, indeed, a haunted house.
The young man who diffidently tends it -- he is Anthony Perkins and the girl is Janet Leigh -- is a queer duck, given to smirks and giggles and swift dashes up to a stark Victorian mansion on a hill. There, it appears, he has a mother -- a cantankerous old woman -- concealed. And that mother, as it soon develops, is deft at creeping up with a knife and sticking holes into people, drawing considerable blood.
That's the way it is with Mr. Hitchcock's picture -- slow buildups to sudden shocks that are old-fashioned melodramatics, however effective and sure, until a couple of people have been gruesomely punctured and the mystery of the haunted house has been revealed. Then it may be a matter of question whether Mr. Hitchcock points of psychology, the sort of highly favored by Krafft-Ebing, are as reliable as his melodramatic stunts.
Frankly, we feel his explanations are a bit of leg-pulling by a man who has been known to resort to such tactics in his former films.
The consequence is his denouement falls quite flat for us. But the acting is fair. Mr. Perkins and Miss Leigh perform with verve, and Vera Miles, John Gavin and Martin Balsam do well enough in other roles.
The one thing we would note with disappointment is that, among the stuffed birds that adorn the motel office of Mr. Perkins, there are no significant bats.
