Friday, December 4, 1998
Screen Scene
"Psycho"
Starring Anthony Perkins and Janet Leigh
Directed by Alfred Hitchcock
Warning: The following item is a review of Alfred Hitchcock’s
1960 film "Psycho," not the new remake by Gus Van Sant opening
today in theaters.
Though it seems like an odd decision, reviewing the original
"Psycho" on the day Universal Pictures releases its remake actually
makes a lot of sense for two reasons: First, Universal is not
allowing press access to the new film before it opens, so no review
of the new film is possible. Second, Van Sant’s remake has been
touted as "shot-for-shot, line-by-line" implying that no new
material has been added. Thus, Hitchcock’s version has been mainly
unchanged, save for new actors and color film.
So, why was the old "Psycho" so memorable as to warrant a
shot-by-shot remake 28 years later? Perhaps because it was, pardon
the pun, the mother of all horror movies.
"Psycho" tells the tale of young Marion Crane (Leigh), who
steals $40,000 from her boss ($400,000 in the remake) and then
flees in her car to meet up with her boyfriend and leave the
country with the money. After some car trouble, Crane is forced to
spend the night at the mysterious Bates Motel, where innkeeper
Norman Bates (Perkins) rents her a room and utters some of the most
memorable lines in film history ("She just goes a little mad
sometimes," "A boy’s best friend is his mother," and so on).
Merely through cultural osmosis, most people know what comes
next. The horrifying end – meeting Crane in the shower – are
ingrained in each American as much as the patriarchal identity of
Darth Vader or the name of Charles Foster Kane’s infamous sled
(Luke’s father and Rosebud, respectively, for those of you who have
been on Mars for the last 20 years).
"Psycho" has remained a classic merely due to its bravado. How
many films would dare to mutilate the leading lady less than an
hour into the film? Who could introduce the strange, yet somehow
endearing, Norman Bates – only to have him become a dangerous
sociopath except for the great horror master Alfred Hitchcock. To
be sure, movies such as "Scream," "I Am Well Aware of the Events Of
Your Life Two Summers Ago" or whatever, couldn’t have been made
before "Psycho" slashed its way into the American unconscious and
informed us that a new era in film history was beginning, and it
wouldn’t be pretty.
"Shakespeare in Love"
Starring Joseph Fiennes and
Gwyneth Paltrow
Directed by John Madden
Representing the kind of coy humor laced throughout the film,
"Shakespeare in Love" unfolds in much the same way as a
Shakespearean play. This tale of the Bard curing writers block
while penning "Romeo and Juliet" includes all the classical
markings of the great playwright’s own masterpieces, including
mistaken identities, cross-dressing, vindictive money lenders,
wealthy aristocrats forced into marriage and a deus ex machina
ending in which the Queen herself saves the day.
Shakespearean fans, or anyone else with a sense of humor for
that matter, will find this sort of subtle comedy throughout
"Shakespeare in Love," the most original and entertaining period
film of the year.
"Shakespeare in Love" begins with, well, Shakespeare (Joseph
Fiennes) in love with a radiant maiden named Rosaline. Sure enough,
when Rosaline fails to return his affection, he cannot focus on
anything, including his new play "Romeo and Ethyl: The Pirate’s
Daughter." Only after discovering and falling in love with the
beautiful aristocrat Viola (Gwyneth Paltrow) does his pen become
active again, transforming his pirate comedy into what has been
called "the greatest love story ever told."
This brief synopsis, however, does no justice to the heart of
the film, which is more concerned with clever moments playing on
the legendary status of Shakespeare than on the motions of the
plot. In fact, anyone familiar with the comedies of Shakespeare
will be able to predict most of the plot twists before they arrive
but will probably still be delighted with the gleeful attitude
taken toward every development.
The film is filled out by a remarkable supporting cast,
including Ben Affleck as a haughty stage actor (who enters the
theater declaring with bravado, "What is the play and what is my
part?"), devastated that his character Mercutio has to meet such an
untimely end. Most of note, however, is Dame Judy Dench, nearly
unrecognizable behind all the pancake make-up and outrageous
dresses, as Queen Elizabeth I. Dench brings not only the elegance
required by royalty but also a deliciously-realized personality to
the monarch.
The direction by Madden (who also directed Dench as a queen in
last year’s delightful "Mrs. Brown") expertly keeps the pace of the
film, which is mandatory for a light comedy such as this. By
keeping each scene moving and never allowing his actors to indulge
themselves in over-acting (despite the fact that many of the
characters are over-the-top and ripe for caricature), Madden gives
the film a fast and funny feel that remains consistently
entertaining for the full two hour running time.
The most credit for the success of "Shakespeare in Love,"
though, goes to the near-perfect script by Marc Norman and veteran
playwright Tom Stoppard. Stoppard, best known for his "Rosencranz
and Guildenstern are Dead," obviously had a lot of fun with the
concept of a romantic comedy centering around Shakespeare. Stoppard
always has a brilliantly conceived one-liner or deft reference to
some Shakespearean play or another (such as Shakespeare demanding
payment for his half-finished play "One Gentleman of Verona.")
Rarely does a period film come along that is so amusing for a
modern audience, consistently entertaining without feeling forced
or stuffy. It’s possible to watch "Shakespeare in Love" for nearly
its full running time without even noticing that the character’s
speak in a more stylized, classical English than is spoken outside
of theaters anymore. Anyone avoiding the film because of its
designation as a "chick flick" or a "costume drama" will be missing
out on one of the funniest films of the year – a real surprise
treat from some very gifted filmmakers.
Lonnie HarrisUCLA Film and Television Archive
The new release of "Psycho" parallels the same 1960 Alfred
Hitchcock movie, which starred Anthony Perkins.
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