Psycho: Then (1960) and . . . Still Then (1998)

Over the weekend, I had the pleasure of watching the original 1960s version of Alfred Hitchcock’s Psycho for the first time in its entirety on Chiller. Sidenote on Chiller: it is the most amazing channel on basic cable ever (clearly I was not at home when I watched this) catering to all my thriller/horror tastes with such syndications as Tales from the Crypt, American Gothic, Good vs. Evil, and my favorite, Twin Peaks (as you will soon find out, I’m a major David Lynch fan . . . well, earlier David Lynch . . . not the DV camera-toting INLAND EMPIRE-Lynch of today). Back to Psycho, I was utterly mesmerized at the twisted, envelope-pushing plot of the film. So much so that I just had to watch the 1998 remake . . .

The remake, though an adequate rendition, is clearly not as good as the original. First of all, the original is in black and white, which to me is something that adds to the suspense of the film itself. I don’t even think that it should be in color, that the lack of color in itself complements the chilling cinematography. I also felt the remake was a little more fast-paced, accommodating the developing trend of Attention Deficit Disorder that started in the late 90s. Then again, it could be that the commercial interruptions that I had to endure while watching the original only made it seem slower. As expected, the ‘98 Psycho did not hesitate to exploit the modern acceptance of nudity and sex on the big screen. In the very first scene, we get to see some shots of Viggo Mortensen’s (who plays Sam) ass. Lately though, it seems like I’ve been seeing a little TOO much of Viggo Mortensen . . . especially after watching Eastern Promises (review to come) complete with a full-frontal sauna fight scene. Also, Norman Bates (Vince Vaughn), in a scene straight from Porky’s, masturbates to an undressing Marion Crane (played by Anne Heche recently known for her stint on ABC’s unimpressive Men in Trees).

The remake cast, with some unlikely choices, did have some redeeming qualities. Julianne Moore plays Marion’s sister in her rather juvenile getup consisting of—but not limited to—a backpack, Walkman headphones, and accompanying rock music. Could you take Julianne Moore seriously in this wardrobe? William H. Macy as private detective Arbogast is comic yet stern, bringing to mind his performance in Fargo. Finally, the two leads are in their own way good but pale in comparison to the original leads . . . absolutely no one can top Janet Leigh.

Though I don’t see Marion Crane as a blonde, Anne Heche is still very fitting with her spiffed-up Mia Farrow-in-Rosemary’s Baby haircut. I also view Marion Crane as an empowered woman who rises above the men in her life (both her boss and her boyfriend) to run away with an enormous sum of money. The Marion role necessitates a strong female and who better than Anne Heche (who at that time, to my knowledge, was in her lesbian phase and a relationship with Ellen DeGeneres). I hope I didn’t offend anyone by drawing such a stereotypical connection between strong, independent women and lesbians. The choice for Norman Bates is odd though . . . I would have never thought of Vince Vaughn: approachable and friendly with that little something in his eyes that hint to more twisted characteristics. I love that creepy little laugh that he does and he even looks like someone named Norman: pale complexion, close-cropped hair, awkward yet amicable. Cast in mind, and with the Danny Elfman revival of Bernard Herrmann’s original soundtrack, the remake was good but not as good. But there’s no harm in trying . . . is there?

Written on January 21, 2008 in Entertainment by Vu Le. TrackBack URI.