The Psycho Collection – Review

By Sarah Morgan

Norman Bates. Such a nice boy. Handsome, charming – but don’t stay at his motel, because chances are you won’t wake up the next morning.

When Robert Bloch created the character for his 1959 novel Psycho, he couldn’t possibly have expected him to become a cultural icon. But then, his version of Norman was very different to the one we know from the film franchise. Where Bloch’s was short, in his late-40s and overweight, the one depicted on the big screen was played by Anthony Perkins, a tall, slight, twenty-something.

It was, of course, Alfred Hitchcock who first saw the movie potential in the novel, creating a cinematic classic with help from screenwriter Joseph Stefano and Bernard Hermann’s unforgettable score. It was followed 23 years later by a belated sequel; a third film and a made-for-TV movie appeared after that, all starring Perkins as Norman before his untimely death in 1992.

“A masterpiece”

All four films are being released as a boxset by Arrow. The first movie wasn’t made available to review – good job, then, that I’ve seen it many, many times already. It remains a masterpiece and the ending still packs a punch today for those unaware of the twist. As for that shower scene… well, in my opinion, it’s still the greatest murder set-piece ever depicted on screen. It helps that the cast – which, alongside Perkins, includes Janet Leigh, Vera Miles and Martin Balsam – are all at the peak of their powers.

Perkins and Miles returned for the 1983 sequel directed by Australian self-confessed Hitchcock fan Richard Franklin. Although Bloch had written a follow-up to his original novel, the movie doesn’t match its plot. Instead, Miles, as Lila, the sister of Bates’ victim Marion Crane, seeks revenge with help from her daughter (Meg Tilly). Unfortunately, she turns out to be just as unhinged as the man she’s desperate to frame for a new set of murders.

Psycho III, released in 1986, was also directed by Perkins, who includes some nice nods to Hitchcock for fans to look out for. However, the plot – a nun on the run (Diana Scarwid) rocks up at the motel and is attracted to Norman, while the motel’s manager (Jeff Fahey) gets up to mischief – is the weakest of the four movies. It adds nothing to the development of the Bates legend and seems to have simply been made as a quick and easy way to make some money.

“Surprisingly good”

Finally, Psycho IV: The Beginning (1990) is surprisingly good. This time, Norman has settled into domestic bliss which is being threatened by his concerns over becoming a father. When his former psychologist takes part in a radio discussion about men who kill their mothers, Norman calls in, recalling his past crimes, the reasons he committed murder and his fears for the future.

While some fans may argue that some of the events depicted in flashbacks are out of order, overall it fills in some gaps in the Bates family history. Directed by horror genre stalwart Mick Garris, the film features Henry ‘ET’ Thomas as a young Norman, while CCH Pounder, Twin Peaks veteran Warren Frost and film-maker John Landis all have small roles. Two versions of the film are available here. One in the original TV aspect ratio, the other Garris’s preferred widescreen take.

All four films have had crisp 4k restorations, and the discs are packed with special features – something we’ve come to expect from Arrow. Each features audio commentaries, and there are archival interviews with many of the stars as well as new content to enjoy. The boxset is a must for fans – unless someone in the future releases a collection that also includes the 1998 Psycho remake, the TV series Bates Motel and the 1987 film of the same name, it’s hard to imagine anything more comprehensive or the set being surpassed in terms of quality.