the jealous mother
by
Douglas Messerli
Joseph Stefano (screenplay, based on the novel by Robert Bloch),
Alfred Hitchcock (director) Psycho / 1960
It was not until I began writing the essay on
Alfred Hitchcock’s Vertigo that I suddenly realized that his well-known
1960 horror film Psycho bears much in common with his brilliant 1958 film
in the sense that it too is a kind of romance—a very strange one to say the
least, but still a romance
A
supposed argument with his mother confirms his emotions:
Norma Bates: [voice-over] No! I tell you no! I
won't have you bringing
some young girl in for
supper! By candlelight, I suppose,
in the cheap, erotic
fashion of young men with cheap,
erotic minds!
Norman Bates: [voice-over] Mother, please...!
Norma Bates: [voice-over] And then what? After
supper? Music? Whispers?
Norman Bates: [voice-over] Mother, she's just
a stranger. She's hungry,
and it's raining out!
Norma Bates: [voice-over] "Mother, she's
just a stranger"! As if men don't
desire strangers! As
if... ohh, I refuse to speak of disgusting
things, because they
disgust me! You understand, boy? Go on,
go tell her she'll not
be appeasing her ugly appetite with MY
food... or my son! Or do
I have tell her because you don't have
the guts! Huh, boy? You
have the guts, boy?
Norman Bates: [voice-over] Shut up! Shut up!
Like Vertigo’s Madeline, Marion is a liar and, in this case, a
thief. The realization of her errors comes soon after her conversation with
Norman, as she determines to return to Phoenix; and, like the mythical bird,
she clearly hopes to be "reborn," to rectify her behavior. The
shower, as numerous observers have noted, is a kind of ritual baptism, a
washing away of her sins with a hopeful return to innocence. Yet, the attentive
viewer also knows that a resurrection will be impossible, for as we have
witnessed in Norman's room behind the motel's front desk, Norman's hobby is
taxidermy: he stuffs birds, assuring no possibility of their being reborn out
of the ashes.
Minutes later, dressed as his mother, he stabs Marion to death in the
famed shower scene, a scene so powerful that women all over the world became
terrified to take a shower. The three minutes of 50 cuts is a kind of small and
masterful film in itself, revealing in
its attention to the details to Marion's body just how obsessed Norman/his
mother is with this woman. It is hard to perceive such a brutal murder as a
kind of love scene, but the way Hitchcock has filmed it, beginning with the
sensual pleasure Marion finds in the shower, her scream upon the sudden
intrusion, the outstretched hand and fingers, the gradual fall, the appearance
of blood, and the final focus upon her dilated eye, seen abstractly it is
almost a kind of dance of pleasure as well as a dance of death.
Norman has to destroy her as his jealous mother to keep his psychosis
alive; and it is that necessity—the acts of the jealous mother—that makes us
realize just how attracted Norman has been to Marion. In a sense, Norman has
been as obsessed with her as Scottie was with Madeline.
But obviously, Norman is even more obsessed with his mother, a woman to
whom he is not only in complete parental thrall, but with whom he is deeply in
love. He has killed her because in her attraction for another man for whom he
has believed she was preparing to abandon him.
It is tempting, given this Hitchcockian muddle of Freudian-inspired
psychological details to imagine Norman as being a latent homosexual. Certainly
Freud might have argued that despite the boy's seeming love for and attraction
to women he also fears and loathes them, explaining his need to destroy the
women to whom he is attracted before they overtake his own identity or hurt him
with their inability to fully share his love in the manner of his mother
But with Norman the psychosis goes much further—partly out of guilt for
his hidden hate and final murder of those of female sex, but also out of his
own recognition that he cannot truly fulfill their love (in the case of his
mother because of the obvious incestual restriction, and in Marion's case
because he is still a virgin too terrified to ever proceed with a sexual
advance)—he replaces them, becomes them himself in order to consummate a
relationship between him and the women he admires from afar. Through his
personal intercommunication with his inner mother / lover he creates a
relationship of husband and wife, lover, and dependent mate. Norman is more a
kind of faux transgender figure rather than a man who secretly desires others
of his own sex.
The
rest of the story, how family and authorities discover the truth, hardly
matters. The only thing that keeps the audience's interest—which is why the
director was so determined not to reveal the story's secret and would not allow
audiences to enter after the movie had begun—is the fact that we do not yet
realize the truths I have just expressed above, that Norman is his
mother, having killed her off long ago. What gradually becomes apparent is that
his real lover / mother was a tyrant who would allow him no other lover,
keeping him frozen in infancy forever. So, in the end, playing the role of both
his mother and himself, he is, as his last name suggests ("Bates") a
man forced to perpetually make love to himself in a kind a kind of psychical
masturbation. As the doctor summarizes:
"Like I said... the mother... Now to
understand it the way I understood it, hearing it from the mother... that is,
from the mother half of Norman's mind... you have to go back ten years, to the
time when Norman murdered his mother and her lover. Now he was already
dangerously disturbed, had been ever since his father died. His mother was a
clinging, demanding woman, and for years the two of them lived as if there was
no one else in the world. Then she met a man... and it seemed to Norman that
she 'threw him over' for this man. Now that pushed him over the line and he
killed 'em both. Matricide is probably the most unbearable crime of all... most
unbearable to the son who commits it. So he had to erase the crime, at least in
his own mind. He stole her corpse. A weighted coffin was buried. He hid the
body in the fruit cellar. Even treated it to keep it as well as it would keep.
And that still wasn't enough. She was there! But she was a corpse. So he began
to think and speak for her, give her half his time, so to speak. At times he
could be both personalities, carry on conversations. At other times, the mother
half took over completely. Now he was never all Norman, but he was often only
mother. And because he was so pathologically jealous of her, he assumed that
she was jealous of him. Therefore, if he felt a strong attraction to any other
woman, the mother side of him would go wild." [Points finger at Lila
Crane]
"When
he met your sister, he was touched by her... aroused by her. He wanted her.
That set off the 'jealous mother' and 'mother killed the girl'! Now after the
murder, Norman returned as if from a deep sleep. And like a dutiful son,
covered up all traces of the crime he was convinced his mother had
committed!"
In
short, the doctor strangely confirms that Marion's murder was indeed a murder
for love.
Los Angeles, February 27, 2012 and September 30, 2021
Reprinted from World Cinema Review (February 2012).
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