Psycho at 65: The Tale Behind Alfred Hitchcock's Brilliant Horror Film

      Hasitha Fernando explores the background of Alfred Hitchcock’s Psycho as it reaches its 65th anniversary…

      Psycho is undeniably Alfred Hitchcock’s most significant and well-recognized film, despite his direction of renowned works like Vertigo, Dial M for Murder, and North by Northwest. The film, which sparked considerable controversy upon its release, has since been reevaluated and celebrated for its profound effect on both the horror genre and cinema as a whole. As Psycho marks its 65th anniversary, we take a moment to reflect on the events surrounding the film’s production and reveal the behind-the-scenes drama that occurred…

      The novel's narrative mirrored the life of a real-life killer

      The 1959 horror novel Psycho, written by Robert Bloch, is regarded as one of the most impactful horror novels of the 20th century and is also Bloch’s most enduring work among his thirty-plus novels. Having once been a protégé of H.P. Lovecraft, Bloch initially attempted to imitate his mentor by crafting cosmic horror, but eventually shifted to writing crime and horror stories with a more grounded psychological focus. At the time Bloch wrote Psycho, Ed Gein’s horrifying crime spree was taking place, though Bloch stated he was not inspired by Gein’s actions but rather by the concept of a mass murderer living freely among people in small-town America. Hitchcock acquired the rights to the novel anonymously for $9,000, after his long-term assistant Peggy Robertson shared the book with him.

      A French psychological horror film inspired Psycho's creation

      Sir Alfred Hitchcock is celebrated as one of cinema's most influential figures, with works such as Rear Window, Dial M for Murder, Vertigo, North by Northwest, and The Birds. Known as the “Master of Suspense,” Hitchcock enjoyed a career spanning six decades, garnering 46 Academy Award nominations and six wins. Before directing Psycho, Hitchcock experienced a career slump; disillusioned with large-budget films, he sought to explore a more minimalist approach akin to his television work. During this time, his competitor, Henri-Georges Clouzot, a French New Wave director, found critical and commercial success with the independent, low-budget psychodrama Les Diaboliques. The film, shot in black and white, drew comparisons to Hitchcock’s own films, prompting him to create his own version with Psycho.

      Paramount Pictures allocated a smaller budget for the film

      Paramount Pictures, who had Hitchcock under contract for another project, were initially reluctant to greenlight Psycho. The studio deemed Bloch's book "too repulsive," leading them to deny Hitchcock the necessary budget. To circumvent this funding obstacle, the filmmaker financed the film himself through his production company, Shamley Productions, hiring much of his crew from the popular TV series Alfred Hitchcock Presents, including cinematographer John L. Russell, assistant director Hilton A. Green, and set designer George Milo. Additionally, Hitchcock took a significant pay cut, opting for 60% of the film’s profits instead of his usual $250,000 salary. Paramount agreed, convinced the film would fail at the box office. However, when it became a surprise hit, Hitchcock’s earnings from Psycho exceeded $15 million, a figure that would equate to over $150 million today when adjusted for inflation.

      The film diverged from the source material in many aspects

      Shortly after acquiring the novel’s rights, Hitchcock hired Joseph Steffano to write the screenplay for Psycho. Though relatively inexperienced, Steffano and Hitchcock clicked, and the screenwriter was instructed to begin anew, disregarding an earlier draft by James P. Cavanagh, a writer from Alfred Hitchcock Presents. Hitchcock aimed to depart from the book without adhering strictly to the source material. For instance, in the novel, Norman Bates is portrayed as an unappealing, overweight middle-aged man, while Hitchcock envisioned him as young and charismatic. Steffano also omitted the character's alcoholism and interest in the occult. In the book, Norman is central, whereas in Hitchcock’s adaptation, he plays more of a supporting role. The novel opens with an argument between Norman and Mother, rather than focusing on Marion as the film does.

      Initially, Hitchcock didn't want any music for the film

      Hitchcock believed Psycho was destined for failure and was prepared to edit it for television, but this perspective changed when he heard Bernard Herrmann’s score. Hitchcock was so impressed with Herrmann's work that he doubled the composer's salary. Herrmann's suspenseful score, which exclusively utilized strings, was an unusual choice for thrillers at that time but proved effective, resonating with audiences. Today, Psycho remains Bernard Herrmann's most recognized work, and few can forget the haunting violins accompanying the iconic shower scene—a true exemplar of cinematic scoring.

      The cast and crew were sworn to secrecy about the film’s twist ending

      Psycho features one of cinema’s most shocking endings, with the revelation of the murderer being particularly memorable