Psycho (Film)

Perkenalan pertamaku dengan film ini adalah lewat remake-nya yang rilis tahun 1998. Jadi begitu nonton versi originalnya, aku nggak terlalu surprised lagi dengan shower scene-nya, yang katanya merupakan bagian paling menegangkan dari film ini. Selain itu udah dibocorin juga dari film Hitchcock, yang memang bercerita tentang proses di balik pembuatan film Psycho ini.

Seingatku, jalan cerita versi remake dan versi originalnya nggak persis sama. Ada beberapa perubahan karakter juga. Jadi setelah melewati shower scene itu, aku nggak bisa nebak jalan ceritanya. Dan akhirnya aku bisa merasakan juga ketegangan dari film ini. Mungkin aku bakalan semakin terkejut seandainya aku lupa soal Norma Bates.

Sebagai pembuka, film ini bisa dibilang berani untuk ukuran tahun 1960-an. Ternyata di Wikipedia pun menuliskan hal ini. Aku juga setuju dengan komentar di Wikipedia yang bilang kalau Janet Leigh dan John Gavin kurang begitu menghayati adegan tersebut. Mereka kelihatan agak kaku. Malah jauh lebih romantis waktu John Gavin berhadapan dengan Vera Miles, lol. 

Film ini berdasarkan novel Robert Bloch dengan judul yang sama. Seperti kejadian-kejadian sebelumnya setiap aku nonton film yang berdasarkan buku tapi aku belum baca bukunya, ada beberapa bagian yang bikin aku lost. Lost karena pemeran hanya bertutur dengan mengandalkan ekspresi wajahnya aja tanpa aku tahu persis apa yang sebenarnya ada di pikirannya. Salah satunya baru aku temukan jawabannya pas baca Wikipedia. Ternyata Marion mau balik ke Phoenix untuk mengembalikan uang yang dicurinya, sedangkan di dialog nggak begitu ekplisit dijelaskan hal itu. Seingatku sih nggak diceritakan alasannya apa dia ingin kembali ke Phoenix. Kalau di buku kayaknya bakalan ada penjelasan tersebut, karena biasanya di buku selalu diceritakan isi pikiran si karakter.

Aku kurang puas dengan akhir cerita film ini. Prosesnya terlalu cepat. Diperpanjang sedikit kayaknya bisa bikin film ini lebih oke. Sedikit banyak aku pun agak meragukan pemilihan judulnya. Apa pantas seseorang dengan kepribadian ganda seperti Norman Bates disebut psycho? Tentunya ini berawal dari ketidakbegitupahamanku soal arti psycho itu sendiri. Aku merasa psycho itu bukan akibat dari kepribadian ganda, melainkan karena memang itulah jati dirinya.

Sehabis nonton film ini, aku langsung baca penjelasan lebih mendalam tentang filmnya di Wikipedia. Wah, ternyata menarik banget proses pembuatan film ini. Hitchcock begitu yakin dengan film ini sampai dia rela membiayai sendiri pembuatannya. Bahkan sampai membeli habis bukunya demi merahasiakan jalan ceritanya. Belum lagi peraturan yang dia buat supaya nggak ada orang yang terlambat masuk bioskop. Aku yang baca sih salut, tapi mungkin orang-orang yang terlibat dalam hal tersebut merasa jengkel dengan keperfeksionisan Hitchcock.

Hal lucu yang kutemukan dari tulisan Wikipedia adalah ketidakstabilan penilaian para kritikus film mengenai film ini. Awalnya mereka kasih rating jelek, tapi ternyata antusiasme penonton begitu tinggi. Film ini benar-benar laris. Lalu penilaian pun berubah. Film ini akhirnya menuai banyak pujian dan dibilang sebagai masterpiece-nya Hitchcock. Mungkin mereka kira bisa menjatuhkan karir dan karya Hitchcock melalui kritikan mereka, ternyata hasilnya nol besar. Buatku pribadi, aku menikmati film ini dan semakin mengagumi sosok Hitchcock atas dedikasinya buat film ini. Semoga aku bisa lebih banyak menikmati karya-karyanya lagi. Kayaknya baru ini aja film karya Hitchcock yang aku tonton, padahal namanya sendiri udah sering aku dengar.

My Fine Line kali ini kurang begitu lengkap. Aku belum sempat menulis penjelasan psikiater yang menilai kepribadian Norman Bates. Sayangnya, ternyata film ini udah dihapus dari Netflix. Ada teman yang kasih saran buat cari di IndoXXI, so maybe I’ll try to find it there. Btw, aku udah punya bukunya. Jadi mungkin aku pun bisa menemukan bagian yang hilang di sana seandainya aku nggak sempat nyari di IndoXXI.

***

 

MY FINE LINE

 

 

“Headaches are like resolution. You forget them as soon an they stop hurting.”

(Marion Crane)

 

 

Dialogue

Sam: I’m tired of sweating for people who aren’t there. I sweat to pay off my father’s debts, and he’s in his grave. I sweat to pay my ex-wife alimony, and she’s living on the other side of the world somewhere.
Marion: I pay, too. They also pay who meet in hotel rooms.
Sam: A couple of years and my debts will be paid off. If she ever remarries, the alimony stops.
Marion: I haven’t even been married once yet.
Sam: Yeah, but when you do, you’ll swing.
Marion: Oh, Sam, let’s get married.
Sam: Yeah, and live with me in a storeroom behind a hardware store in Fairvale? We’ll have lots of laugh. I’ll tell you what. When I send my ex-wife her alimony, you can lick the stamps.
Marion: I’ll lick the stamps.

 

Dialogue

Tom: Do you know what I do about unhappiness? I buy it off. Are, uh—Are you unhappy?
Marion: Hm, not inordinately.
Tom: I’m buying this house for my baby’s wedding present. $40.000 cash. Now, that’s—that’s not buying happiness. That’s just buying off unhappiness. Heh. I never carry more than I can afford to lose. Heh. Count ‘em.
Caroline: I declare.
Tom: I don’t. That’s how I get to keep it.
George: Tom, a cash transaction of this size is most irregular.
Tom: Ah, so what? It’s my private money. Now it’s yours.

 

 

“He was flirting with you. I guess he must’ve noticed my wedding ring.”

(Caroline)

 

 

Dialogue

Marion: Mr. Lowery, if you don’t mind, I’d like to go right on home after the bank. I have a slight head—
Tom: You go right on home. Because me and your boss are goin’ out and get ourselves a little drinkin’ done. Right?
George: Of course. Do you feel ill?
Marion: Just a headache.
Tom: Well, what you need is a weekend in Las Vegas, the playground of the world.
Marion: I’m going to spend this weekend in bed. Thank you.
Caroline: Aren’t you going to take the pills? They’ll knock that headache out.
Marion: Can’t buy off unhappiness with pills. I guess I’ll go put this money in the bank, then go home and sleep it off.

 

 

“I’ve told you there’s nothing wrong, except that I’m in a hurry and you’re taking up my time.”

(Marion Crane)

 

 

“There’s an old saying, “First customer of the day is always the most trouble.””

(California Charlie)

 

 

“One thing people never oughta be when they’re buyin’ used cars, and that’s in a hurry.”

(California Charlie)

 

 

“Is there anything so terribly wrong about making a decision and wanting to hurry?”

(Marion Crane)

 

 

Dialogue

Charlie: Heck, Officer, that was the first time I ever saw the customer high-pressure the salesman. Somebody chasin’ her?
Officer: I better have a look at those papers, Charlie.
Charlie: She look like a wrong one to you?
Officer: Acted like one.

 

 

“No! I tell you no! I won’t have you bringing strange young girls in for supper! By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds!”

(Norma Bates)

 

 

Dialogue

Norman: My hobby is stuffing things. You know, taxidermy. And I guess I’d rather stuff birds because I hate the look of beasts when they’re stuffed. You know, foxes and chimps. Some people even stuff dogs and cats, but, oh, I can’t do that. I think only birds look well stuffed because, well, because they’re kind of passive to begin with.
Marion: It’s a strange hobby. Curious.
Norman: Uncommon, too.
Marion: Oh, I imagine so.

Marion: A man should have a hobby.
Norman: Well, it’s – It’s more than a hobby. A hobby’s supposed to pass the time, not fill it.
Marion: Is your time so empty?
Norman: No. Uh—Well, I-I run the office, and, uh, tend the cabins and grounds, and do little, uh, errands for my mother, the ones she allows I might be capable of doing.
Marion: Do you go out with friends?
Norman: Well, a-a boy’s best friend is his mother.

 

 

“People never run away from anything.”

(Norman Bates)

 

 

Dialogue

Norman: You know what I think? I think that… we’re all in our private traps, clamped in them, and none of us can ever get out. We scratch and—and claw, but only at the air, only at each other. And for all of it, we never budge an inch.
Marion: Sometimes we deliberately step into those traps.

 

 

“Sometimes when she talks to me like that, I feel I’d like to go up there and curse her and-and leave her forever. Or at least defy her. But i know I can’t. She’s ill.”

(Norman Bates)

 

 

“Well, a son is a poor substitute for a lover.”

(Norman Bates)

 

 

“If you love someone, you don’t do that to them, even if you hate them. You understand, I don’t hate her. I hate what she’s become. I hate the illness.”

(Norman Bates)

 

 

“People always mean well. They cluck their thick tongues and shake their heads and suggest, oh, so very delicately.”

(Norman Bates)

 

 

Dialogue

Norman: It’s not as if she were a—a maniac, a raving thing. She—she just goes a little mad sometimes. We all go a little mad sometimes. Haven’t you?
Marion: Yes. Sometimes just one time can be enough. Thank you.
Norman: “Thank you, Norman.”
Marion: Norman.

 

 

“I Don’t care if you believe me or not. All I want to do is see Marion before she gets in this too deeply.”

(Lila Crane)

 

 

“Well, you know, we’re always quickest to doubt people who have a reputation for being honest.”

(Det. Milton Arbogast)

 

 

“She might have fooled me, but she didn’t fool my mother.”

(Norman Bates)

 

 

“Patience doesn’t run my family, Sam. I’m going out there.”

(Lila Crane)

***

 

 

MY BEST SHOT

 

 

***

 

 

Sutradara: Alfred Hitchcock

Penulis Skenario: Joseph Stefano

Berdasarkan Novel Karya Robert Bloch: “Psycho”

Musik: Bernard Herrmann

Sinematografer: John L. Russell

Desain Kostum: Rita Riggs

Tayang Perdana: 8 September 1960

Durasi: 1 Jam 49 Menit

Nonton di: Netflix

Rating: 4 dari 5 Bintang

Ditulis oleh

Sometimes She's in the Mood for Books, for Movies, for TV Series, for Music, to Write, or Doing Nothing at All and Be DEAD. She Just Goes with Her Own Speed. But Sure She'll Try Her Best to Catch Up with the World.

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