The only new cast members who more or less get the job done are William H. Instead of suggesting a straight arrow like John Gavin in the original film, he brings an undertow of elusive weirdness. Viggo Mortensen is also wrong for Sam Loomis, the lover. Van Sant's decision to shoot in color instead of black and white completes the process of de-eroticizing her she wears an orange dress that looks like the upholstery from my grandmother's wing chair. Among actors in the correct age range, my suggestion would be Jeremy Davies, who was the frightened Corporal Upham in " Saving Private Ryan."Īnne Heche, as Marion Crane, lacks the carnal quality and the calculating detachment that Janet Leigh brought to the original film. Possibly no actor could have matched the Perkins performance, which is one of the unique creations in the cinema, but Vaughn is not the actor to try. Anthony Perkins, in the original, made it seem compulsive, welling up out of some secret pool of madness. Norman's early dialogue often ends in a nervous laugh. One problem is the casting of Vaughn in the Norman Bates role.
1: Even if Hitchcock was hinting at sexual voyeurism in his 1960 version, it is better not to represent it literally, since the jiggling of Norman's head and the damp off-screen sound effects inspire a laugh at the precise moment when one is not wanted.Īll of these details would be insignificant if the film worked as a thriller, but it doesn't. And more blood.Īs for the masturbation scene as Norman spies on Marion through the peephole between the parlor and Room No. Bates" during the knife attack in the shower. When Marion goes into the "parlor" of Norman Bates ( Vince Vaughn), the stuffed birds above and behind them are in indistinct soft focus, so we miss the feeling that they're poised to swoop. We never get the chilling closer shot of him waiting across the street from the car lot, arms folded on his chest. The highway patrolman who wakes her from her roadside nap looks much the same as in the original, but has a speaking voice which, I think, has been electronically tweaked to make it deeper-and distracting. In the scene in which Marion packs while deciding to steal the money, Heche does more facial acting than Janet Leigh did in the original-trying to signal what she's thinking with twitches and murmurs. There is a shot of Loomis' buttocks, and when he turns toward her, a quick downward glance of appreciation by Marion. The opening shot is now an unbroken camera move from the Phoenix skyline into the hotel room where Marion Crane ( Anne Heche) is meeting with her lover, Sam Loomis ( Viggo Mortensen). That set off the 'jealous mother' and 'mother killed the girl'! Now after the murder, Norman returned as if from a deep sleep.Students of trivia will note the differences. Fred Simon: When he met your sister, he was touched by her. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild.ĭr. And because he was so pathologically jealous of her, he assumed that she was jealous of him. Now he was never all Norman, but he was often only mother. At other times, the mother half took over completely. At times he could be both personalities, carry on conversations. So he began to think and speak for her, give her half his time, so to speak. Even treated it to keep it as well as it would keep. So he had to erase the crime, at least in his own mind. most unbearable to the son who commits it. Matricide is probably the most unbearable crime of all. Now that pushed him over the line and he killed 'em both. and it seemed to Norman that she 'threw him over' for this man. His mother was a clinging, demanding woman, and for years the two of them lived as if there was no one else in the world. Now he was already dangerously disturbed, had been ever since his father died. you have to go back ten years, to the time when Norman murdered his mother and her lover. that is, from the mother half of Norman's mind. Now to understand it the way I understood it, hearing it from the mother.
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