period. It went on to become the second highest-grossing film of 1960, behind Spartacus, earning a box office gross of $32 million, which generated approximately $9.1 million in North American theatrical rentals.Psycho remains the most commercially successful film of Hitchcock's career. Hitchcock personally earned in excess of $15 million from Psycho. He then swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder in MCA Inc., and his own boss at Universal, in theory; this did not stop them from interfering with his later films.<ref>Stephen Rebello, Alfred Hitchcock and the Making of Psycho, Soft Skull Press, Berkeley, 1990.</ref> Themes and style Subversion of romance through irony In Psycho, Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it presents "clarity and fulfillment" of romance. The past is central to the film; the main characters "struggle to understand and resolve destructive personal histories" and ultimately fail. Lesley Brill writes: "The inexorable forces of past sins and mistakes crush hopes for regeneration and present happiness". The crushed hope is highlighted by the death of the protagonist, Marion Crane, halfway through the film. Marion is like Persephone of Greek mythology, who is abducted temporarily from the world of the living. The myth does not sustain with Marion, who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's flowers, but they are only "reflected in mirrors, as images of images—twice removed from reality". In the scene of Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "like the eye of the amorphous sea creature at the end of Fellini's La Dolce Vita, it marks the birth of death, an emblem of final hopelessness and corruption". Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness. There exists among Psychos secondary characters a lack of "familial warmth and stability", which demonstrates the unlikelihood of domestic fantasies. The film contains ironic jokes about domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her buried in the swamp. Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly connubial" relationship, a development that Marion is denied. Norman also suffers a similarly