From here, “Psycho” begins to truly live up to its name, with a sudden, intense shift in tone.
It masterfully reveals that the entire introductory sequences were essentially just for show.
The extensive misdirection continues well beyond the most horrifying moment, refusing to reveal the full extent of Norman’s abetment in a flash of grisly violence.
Hitchcock wisely keeps additional surprises waiting in reserve.
n Phoenix, Arizona, on Friday, December 11th (details typically seen only in mystery films), Marion Crane (Janet Leigh) uses her lunch hour to rendezvous with Sam Loomis (John Gavin) at a cheap hotel.
Their affair weighs heavily on her mind because Sam has to pay alimony to his ex-wife and needs another couple of years to get out of debt.
He invites her to a light dinner, where he reveals his hobby of taxidermy.
There are signs of peculiarities emanating from Norman, but he seems quite harmless – especially as he recounts the details of his mother’s mental instability.
It gives her another idea entirely: to steal the money, which she’s tasked with depositing at the bank.
It’s as if it dropped out of the sky into her lap, providing her with an answer to all of her troubles.