Analysis of the Parlour Scene from 'Psycho' (Hitchcock, 1960)

The opening shot from the parlour scene in Alfred Hitchcock's 'Psycho' is a low angle shot of Norman Bates, the film's main character. This shows how Norman is in control as it is his parlour. In this shot, there is also a large amount of symbolism and foreshadowing. Firstly, Norman's face is covering the bird with it's wings out. Hitchcock has done this to foreshadow Norman's split personality, with the birds in the room representing Norman's psychotic 'Mother' personality. Norman being in front of the bird implies that although the 'Mother' personality is not yet in control, it is still there. Also the use of the double light can also be interpreted as foreshadowing Norman's two personalities. The way the camera is positions makes it look like one of the lamps is slightly above the other, implying that Norman's personality is in control. Norman also occupies the dark space, connoting that he may have bad intentions. The next shot is the only shot in which Marion and Norman are in shot together. This is done to show how at this point the conversation is quite equal. However, Marion is closer to the audience whilst Norman is distant and is occupying the darker space. Hitchcock has purposely done this to make his audience feel separated and distant from Norman which will make us feel uneasy about him. Furthermore, the candle next to Norman has no light whilst the lamp next to Marion is on and bright. This symbolises the contrasting intentions between the two characters. Norman is debating whether to kill Marion whilst Marion is deciding to do the right thing and return the stolen money. The next shots are medium close ups of Norman and Marion. This has again been done to show how the conversation is still equal at this point. However, there is a shadow behind Norman whilst there is no shadow on Marion. This has been purposely included by Hitchcock to signify that Norman does not have good intentions. This is a way of foreshadowing the twist that Norman has two personalities. Next, once 'Mother' is mentioned by Marion, Norman looks much more unsettled. He moves in to the darkness away from the camera and begins to stroke a stuffed bird on the shelf adjacent to him. The birds in this scene are very important as Hitchcock has included them as a way to represent Norman's 'Mother' personality. This bird occupies a passive stance, implying that 'Mother' is not yet in control. However the fact that Norman begins to stroke the bird implies that the 'Mother' personality is taking more control. This has also been done to depict how Norman finds comfort in death, further distancing him from the audience. The next shot of Norman is from a low-angle perspective with a slight tilt. Signifying how Norman has become agitated after Marion insults 'Mother'. The change in shot implies that Norman has no decided to kill Marion, something he does in the next scene. From Hitchcock's use of a slight tilt on the shot, the audience are directed into feeling even more uneasy about Norman as we are looking at him from an unnatural angle. Also the birds, now birds of prey, in the shot are now in a different stance - that of an attacking position. Hitchcock has done this to show how 'Mother' is angry and is now in control of Norman. When the shot type changes once more to a close-up, Norman is taking up a large majority of the screen. This has been done to force us to feel uncomfortable as that is how Norman is making Marion feel and we are supposed to connect with Marion in this scenario. Whenever the shot returns to a Marion, the shot is now just a close-up instead of a medium close-up. Hitchcock has implemented this to show how Marion is feeling more uneasy and scared. Also the lamp is now no longer in shot, showing that Marion is no longer safe as light can connote safety. Towards the end of the scene, Marion decides to leave. When she does this we see her from a low-angle point of view, showing that she has regained some control of the situation. However near her neck is a stuffed crow. This is a visual signifier, telling the audience that Marion is still not safe. The final shot of the scene is a high-angle shot of Norman. Hitchcock has used this type of shot to depict Norman as a pathetic, weak and pitiful person. This purposely contrasts how Norman acted throughout the scene, showing how manipulative he is.