Perkins does an uncanny job of establishing the complex character of Norman, in a performance that has become a landmark.
But the mouldering house on the hill behind comes from the 19th century, a dark suppressed history, a world of Edgar Allan Poe.
Sam: And after the steak, do we send sister to the movies, turn Momma's picture to the wall? Perkins shows us there is something fundamentally wrong with Norman, and yet he has a young man's likability, jamming his hands into his jeans pockets, skipping onto the porch, grinning. The remainder of the horror and suspense is created in the mind of the audience, although the tale does include such taboo topics as transvestism, implied incest, and hints of necrophilia.
Marion: Sam! Peggy RobertsonHitchcock's long-time assistant, read Anthony Boucher 's positive review of the novel in his "Criminals at Large" column and decided to show the book to her employer, even though studio readers at Paramount Pictures had already rejected its premise for a film.
Audiences assumed that something horrible would happen in the first few minutes.
I never carry more than I can afford to lose. This is interesting because the audience know before the characters in the movie. You forget them as soon as they stop hurting.