Anthony Perkins, in the original, made it seem compulsive, welling up out of some secret pool of madness. Norman's early dialogue often ends in a nervous laugh. One problem is the casting of Vaughn in the Norman Bates role. 1: Even if Hitchcock was hinting at sexual voyeurism in his 1960 version, it is better not to represent it literally, since the jiggling of Norman's head and the damp off-screen sound effects inspire a laugh at the precise moment when one is not wanted.Īll of these details would be insignificant if the film worked as a thriller, but it doesn't. And more blood.Īs for the masturbation scene as Norman spies on Marion through the peephole between the parlor and Room No.
Bates" during the knife attack in the shower. When Marion goes into the "parlor" of Norman Bates ( Vince Vaughn), the stuffed birds above and behind them are in indistinct soft focus, so we miss the feeling that they're poised to swoop. We never get the chilling closer shot of him waiting across the street from the car lot, arms folded on his chest. The highway patrolman who wakes her from her roadside nap looks much the same as in the original, but has a speaking voice which, I think, has been electronically tweaked to make it deeper-and distracting.
In the scene in which Marion packs while deciding to steal the money, Heche does more facial acting than Janet Leigh did in the original-trying to signal what she's thinking with twitches and murmurs.
There is a shot of Loomis' buttocks, and when he turns toward her, a quick downward glance of appreciation by Marion. The opening shot is now an unbroken camera move from the Phoenix skyline into the hotel room where Marion Crane ( Anne Heche) is meeting with her lover, Sam Loomis ( Viggo Mortensen). Students of trivia will note the differences.
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