Psycho is a film originally directed by Alfred Hitchcock in 1960 adapted from the book novel written by Robert Bloch. Although for my analysis I have chosen to use stills from the remake by Gus Van Sant they are effectively the same as original despite being in color with a different cast.
This shot is filmed from inside the shower and begins focusing on the victim whom we see washing. The water in this piece could be used to symbolize purity and she is cleansing herself. This also captures her at her most venerable and innocent. The camera then tracks to the left where through the curtain we see an undefined movement, which the audience can only assume, is a person going through the door. The curtain is vital in creating this tension because it enables the audience to see there is something going on but plays on their fear of the unknown. This is the point in the scene where the tension immediately rises dramatically. At this point there is a golden mean traveling from the top left to the bottom right drawing focus on the victim and the attacker.
This shot could be said to be a view from the perspective of the victim and it has been shot after the killer has drawn the shower curtain so the audience knows the victim is aware of the killer. The lighting is coming from the top right corner leaving the killers identity a mystery however it illuminates the knife bringing the audience focus solely towards it as well as the way that it placed in the center of the screen. The body language of the killer suggests they are ready to attack before the victim has a chance to compos herself further emphasizing the innocence of the victim and the brutality of the murder. We can also tell that this murder is going to be particularly gruesome due to the size of the knife however it maintains its realistic quality because it could be an easily attainable household item that fits with the idea of a thriller because it turns the everyday into something else.
This shot is an extreme close up on the victim. It is used as a reaction shot when she sees the killer. The camera zooms in, in a frantic nature creating a chaotic effect. This shot is used to emphasize the victim’s shock and fear. The non-digetic sound in this scene mainly consists of the victims scream to intensify it and the high-pitched violins written by Bernard Herman and newly arranged for the remake by Danny Elfman. This is effective at creating tension and capturing the mood.
This sot is a close up of the water and blood flowing to the hole in the shower. The camera tracks from the victim’s body following the stream all the way to the plughole. This shot could be used to symbolize the way the victim’s life and innocence is draining away and it gives us a clear idea that the incident is over and she has been left there without dignity.
Prior to this point this scene has consisted mainly of straight cutting and during the murder the editing was fast with little time during each shot creating a chaotic effect. However now the victim is dead the tempo has decreased and the shot of the plughole fades into a close up shot of the victims eye, which is a match to the plughole. The camera then zooms out and spins, matching the flow of the water symbolizing the life escaping from her.
Despite breaking the 180-degree rule I think this scene works because the camera follows the victim into the shower and then moves around to the other side inside the shower and due to the close proximity of the set it helps to avoid confusion for the audience.
