One film fan’s recent experience watching Alfred Hitchcock’s influential horror featurePsychohas gone viral , as it highlighted how streaming services and their practices can damage the impact of certain moments. One of the acclaimed director’s most recognizable features, 1960’sPsychostarred Janet Leigh as Marion Crane, a secretary on the run who has a fateful stay at Norman Bates' (Anthony Perkins) unnerving motel. Suspenseful and atmospheric,Psychostands out as one of Hitchcock’s most influential pieces, daring to set new boundaries and becoming an early example of the slasher subgenre.
VHSDudes' observation was met with further shock across the Twitter film community, as@juneameliarosedecried the decision.
Why Psycho’s Ending Is An Iconic Horror Moment
Hitchcock Leaves Viewers Uncertain Until The Very End
InPsycho’s ending, a now in-custody Norman Bates sits alone in an empty police cell, as a voice-over of the long-deceased Norma Bates (Virginia Gregg) states that every crime committed had been her son’s doings. Yet, as the monologue continues, it becomes clearer that the psychiatrist (Simon Oakland) was correct in his diagnosis that"Mother" is now another personality to Norman, the voice-over switching to Norman’s perspective. All this is emphasized with the insertion of a shot ofNorma’s corpse overlaying Norman’s chilling smile.
Psychoisn’t initially clear on who the titular Psycho may be, leaving it to viewers to determine whether it is Marion breaking under the pressure of her crimes, the controlling Norma, or Norman being an unwilling accomplice to his mother’s crimes. Withthe start of Norma’s monologue, doubt is still cast on whether Norman is still a victim of his mother long after her death, only for the two to be established as the same in its final moments. As such,Hitchcock lives up to his reputation as the Master of Suspense, keeping viewers on edge until the very end.
Our Thoughts On Psycho’s Streaming Cutaway Controversy
Many Classic Movies Are Let Down By Streaming Service Priorities
With streaming services determining their success on the number of minutes viewers are engaged with their programming, it is unsurprising to see more services trying to maintain their attention. Rather than giving a viewer the chance to turn away, a quick recommendation is given to keep them engaged. And much like how they offer viewers the opportunity to skip title sequences, this engagement can lead to services cutting credits short.
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Black and white horror films, with their ability to intensify sinister imagery and tones, rank among some of the scariest in film history.
While this practice works for features that have their credits following a movie’s runtime, it is unworkable for classic features predating most 70’s productions that placed their far shorter credits before a feature. With many older movies keeping their stories running to the final second, it is likely many iconic cinema moments have been disturbed by the algorithm, be itSome Like It Hot’s final line or the atmospheric walkway inCasablanca’sclosing moments. WhilePsycho’srecent viral cut may highlight this disturbance, it is easy to imagine many movies have suffered similar blunders in recent years.
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Psycho
Cast
In this now-iconic Alfred Hitchcock thriller, a secretary embezzles forty thousand dollars from her employer’s client, goes on the run, and checks into a remote motel. The place is run by a young man under the domination of his mother – and he soon turns out to be far more threatening than he appeared at first.
