The mother of all scary movies (and don't even think of judging Psycho based on Gus Van Sant's remake). Many of its most renowned features are readily apparent: those startling cuts (more than 50 in the shower sequence alone), Anthony Perkins' neurotic mama's boy, Bernard Herrmann's shrieking-violins score. But Psycho's sneakiest tricks manifest themselves more subtly. Take director Alfred Hitchcock's decision to use a handful of different stabbers in Janet Leigh's slice-and-dice sequence: ''He kept changing it so the audience wouldn't be able to get a fix on Mother,'' says Leigh, who spent seven days in that shower. ''At one point it was Tony's stand-in, at one point it was a woman. Never Tony.'' Bottom line: It still works.
Add your comment
The rules: Keep it clean, and stay on the subject or we might delete your comment. If you see inappropriate language, e-mail us. An asterisk * indicates a required field.