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Elizabeth Bruno
Elizabeth Bruno
I hate writing these about me's but here it goes: A sarcastic nerd who is constantly changing hair styles and loves her son, husband, and sometimes her pugs. Also, not a fan of hugs and sitting next to strangers at the movies. I love food, in all aspects and of course Pirates and anything with skulls, oh and Disney.
I am open to PR opportunities and conference sponsorships. I am also available for reviews and giveaways. Please contact me for further details and my media kit.
My Blog, Pirate Prerogative, is all about my adventures in life with my husband (The Captain), my son (The First Mate), and my 3 pugs (Sea Dogs). I cover anything from cloth diapers to my relationship with my mother, who luckily doesn't read my blog. I am commited to posting at least 3 times a week and I have several series on the blog:
Thankful Thursdays- A list of things I am thankful for this week
Sea Dog Saturday- A spotlight on a dog or dogs usually submitted from a reader using my Submit Your Sea Dog form
Shiver Me Timbers Tuesday- A look at that the crazy stuff I never thought I would see, hear, or say before becoming a mom
- Member since January 2013
- Blogging since 2012
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Easy Access to InformationCisco offers a variety of RSS feeds. Use them to select the information that matches your specific needs and interests. Product & Service FeedsProducts that have reached End-of-Sale or End-of-Life status
RSS BasicsRight click on the icon to copy the URL; then paste it into your reader application. Related RSS FeedsSecurity IntelligenceReceive the latest Security information related to Cisco products and networks. NewsroomReceive the latest news from press releases and product news to technology trends. Cisco EventsInteract with Cisco experts to stay current with evolving business technologies. Cisco Interaction NetworkAdvice for business challenges from business, technology, industry experts.

subset: commoncrawl


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use the following search parameters to narrow your results:
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Within the US, the easiest option to help someone, is getting the their email address (in PM) and sending them an e-card to their email from Papa John, Pizza Hut or Dominos.
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check out Pizza For Coins! (Link isn't an endorsement)
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The original RAoP doesnt allow barter for NSFW pics, this subreddit is much lighter on the rules. So this was the solution.
[Offer] Make me laugh (self.RandomActsOfPizza)
submitted 11 months ago by agapose
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Glad you enjoyed it! :D
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On Sun, Jul 4, 2010 at 4:53 AM, fellini5812 said:
I feel like Horror movies vanished from the planet completely!!!
On Tue, Nov 3, 2009 at 11:59 AM, PumpkinRomanof said:
Mika Miko's last show ever :[
On Tue, Oct 6, 2009 at 9:29 PM, Henry Chinaski said:
did you catch anything from fantastic fest? amazing cinema let me tell yas crazyyy movies id suggest looking up the schedule and demanding that i
On Mon, Sep 28, 2009 at 5:15 AM, Toe Cutter said:
top 6: night of the living dead, dawn of the dead(1978), zombi 2(zombi flesh eaters), land of the dead, braindead aka: dead alive, pet semetary honorable mention: shaun of the dead, versus(japan),
On Sat, Sep 26, 2009 at 3:57 PM, kris said:
I love zombie movies! What are your favorites? I like Zombie, Evil Dead, Shaun of the Dead, 28 days later and a lot others. I still need to be schooled in many of the B zombie movies.
On Sat, Sep 26, 2009 at 8:15 AM, kris said:
I'm pretty good! I like horror movies too - we have good taste.
On Fri, Sep 25, 2009 at 7:14 AM, kris said:
Hello. How are you?
On Mon, Sep 14, 2009 at 1:15 PM, lithographette said:
Also a fan of Zombies! Used to work for The Asylum when I lived in LA and even got to be a Zombie in one of their flicks Death Valley, The Revenge of Bloody Bill!


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From Wikipedia, the free encyclopedia - View original article
Psycho | |
Theatrical release poster | |
Directed by | Alfred Hitchcock |
Produced by | Alfred Hitchcock |
Screenplay by | Joseph Stefano |
Based on | Psycho by Robert Bloch |
Starring | Anthony Perkins Vera Miles John Gavin Janet Leigh |
Music by | Bernard Herrmann |
Cinematography | John L. Russell |
Editing by | George Tomasini |
Studio | Shamley Productions |
Distributed by | Paramount Pictures (Original) Universal Pictures (Later releases) |
Release dates |
Running time | 109 minutes |
Country | United States |
Language | English |
Budget | $800,000 |
Box office | $60,000,000 |
Psycho | |
Theatrical release poster | |
Directed by | Alfred Hitchcock |
Produced by | Alfred Hitchcock |
Screenplay by | Joseph Stefano |
Based on | Psycho by Robert Bloch |
Starring | Anthony Perkins Vera Miles John Gavin Janet Leigh |
Music by | Bernard Herrmann |
Cinematography | John L. Russell |
Editing by | George Tomasini |
Studio | Shamley Productions |
Distributed by | Paramount Pictures (Original) Universal Pictures (Later releases) |
Release dates |
Running time | 109 minutes |
Country | United States |
Language | English |
Budget | $800,000 |
Box office | $60,000,000 |
Psycho is a 1960 American suspense horror film directed by Alfred Hitchcock starring Anthony Perkins, Vera Miles, John Gavin, and Janet Leigh. The screenplay is by Joseph Stefano, based on the 1959 novel of the same name by Robert Bloch loosely inspired by the crimes of Wisconsin murderer and grave robber Ed Gein.[1]
The film centers on the encounter between a secretary, Marion Crane (Leigh), who ends up at a secluded motel after embezzling money from her employer, and the motel's disturbed owner-manager, Norman Bates (Perkins), and its aftermath.[2] When originally made, the film was seen as a departure from Hitchcock's previous film North by Northwest, having been filmed on a low budget, with a television crew and in black and white. Psycho initially received mixed reviews, but outstanding box office returns prompted reconsideration which led to overwhelming critical acclaim and four Academy Award nominations, including Best Supporting Actress for Leigh and Best Director for Hitchcock.
It is now considered one of Hitchcock's best films[3] and praised as a work of cinematic art by international film critics and film scholars. Ranked among the greatest films of all time, it set a new level of acceptability for violence, deviant behavior and sexuality in American films.[4] After Hitchcock's death in 1980, Universal Studios began producing follow-ups: three sequels, a remake, a television movie spin-off, and a TV series.
In 1992, the US Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.
Marion Crane and her boyfriend meet for a secret romantic rendezvous during lunch hour at a hotel in Phoenix, Arizona. They then talk about how they can barely afford to get married. Upon Marion's return to work at a realtor's office, a client comes in with $40,000 in cash to purchase a house for his daughter. The money is entrusted to Marion, who decides to steal it and skip town.
On the road, she pulls over to sleep and is awoken by a policeman who can tell something is wrong. The policeman lets her go, but upon arriving in another town, Marion pulls into a used car dealership and hastily exchanges her car for another one. Driving during a rainy night, Marion pulls up to the Bates Motel, a remote lodging that has recently lost business due to a diversion of the main highway. The proprietor, youthful but nervous Norman Bates, invites her to a light dinner in the parlor. Norman discloses that his mother is mentally ill, but he becomes irate and bristles when Marion suggests that she should be institutionalized. The conversation induces Marion to decide to return to Phoenix and return the stolen money. Marion later takes a shower in her room, during which a shadowy figure comes and stabs her to death. Norman bursts into the bathroom and discovers Marion's dead body. He wraps the body in the shower curtain and cleans up the bathroom. He puts Marion's body in the trunk of her car and sinks it in a nearby swamp.
In Phoenix, Marion's sister Lila and boyfriend Sam Loomis are concerned about her disappearance. A detective named Arbogast confirms Marion is suspected of having stolen $40,000 from her employer. Arbogast eventually finds the Bates Motel, where Norman's evasiveness and stammering arouse his suspicions. Arbogast later enters the Bates' residence, looking for Norman's mother. A figure emerges from her room and murders Arbogast.
Fearing something has happened to Arbogast, Sam and Lila go to the town of Fairvale and talk with the local sheriff. He is puzzled by the detective's claim that he was planning to talk to Norman's mother, stating that Mrs. Bates died years ago, along with her lover, in a murder-suicide. Norman, seen from above, carries his mother down to the cellar of their house as she verbally protests the arrangement.
Sam and Lila rent a room at the Bates Motel and search the cabin that Marion stayed in. Lila finds a scrap of paper with "$40,000" written on it while Sam notes that the bathtub has no shower curtain. Sam distracts Norman while Lila sneaks into the house, looking for Mrs. Bates. Norman subdues Sam and chases Lila. Seeing Norman approaching, Lila hides in the cellar and discovers Mrs. Bates sitting in a rocking chair. The chair rotates to reveal a desiccated corpse, the preserved body of Mrs. Bates. A figure enters the basement, wearing a dress and wig while wielding a large knife, revealing Norman to be the murderer all along. Sam enters and saves Lila.
After Norman's arrest, a psychiatrist who interviewed Norman reveals that Norman had murdered his mother and her lover years ago, and later developed a split personality to erase the crime from his memory. At times, he is able to function as Norman, but other times the mother personality completely dominates him. Norman is now locked into his mother's identity permanently. Mrs. Bates, in a voice-over, talks about how harmless she is, and how it was really Norman, not she, who committed the murders. The final scene shows Marion's car being recovered from the swamp.
The success of Psycho jump-started Perkins' career, but he soon began to suffer from typecasting.[5] However, when Perkins was asked whether he would have still taken the role knowing that he would be typecast afterwards, he replied with a definite "yes".[6]
Until her death, Leigh continued to receive strange and sometimes threatening calls, letters, and even tapes detailing what they would like to do to Marion Crane. One letter was so "grotesque" that she passed it along to the FBI, two of whose agents visited Leigh and told her the culprits had been located and that she should notify the FBI if she received any more letters of that type.[7]
Norman's mother was voiced by Virginia Gregg, Paul Jasmin, and Jeanette Nolan, who also provided some screams for Lila's discovery of the mother's corpse. The three voices were thoroughly mixed, except for the last speech, which is all Gregg's.[8]
Anne Dore was chosen by Hitchcock to double for Perkins in the shower sequence in Psycho, since he did not want any of Perkins's physicality to betray his identity at that point in the film. Dore wore the mother's costume and did all the stabbing actions.
Psycho is based on Robert Bloch's novel of the same name, loosely based on the case of convicted Wisconsin murderer Ed Gein.[9] Both Gein, who lived just 40 miles from Bloch, and the story's protagonist, Norman Bates, were solitary murderers in isolated rural locations. Each had deceased domineering mothers, sealed off a room in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly considered a serial killer, having been charged with murder only twice.[10]
Peggy Robertson, Hitchcock's long-time assistant, read Anthony Boucher's positive review of the Bloch novel and decided to show the book to him, even though studio readers at Paramount Pictures had already rejected its premise for a film. Hitchcock acquired rights to the novel for $9,500[11] and reportedly ordered Robertson to buy up copies to preserve the novel's surprises.[12] Hitchcock, who had come to face genre competitors whose works were critically compared to his own, was seeking new material to recover from two aborted projects with Paramount, Flamingo Feather and No Bail for the Judge. He disliked stars' salary demands and trusted only a few people to choose prospective material, including Robertson.[13]
Paramount executives balked at Hitchcock's proposal and refused to provide his usual budget.[14] In response, Hitchcock offered to film Psycho quickly and inexpensively in black and white using his Alfred Hitchcock Presents television series crew. Paramount executives rejected this cost-conscious approach, claiming their sound stages were booked even though the industry was in a slump. Hitchcock countered he would personally finance the project and film it at Universal-International using his Shamley Productions crew if Paramount would merely distribute. In lieu of his usual $250,000 director's fee he proposed a 60% stake in the film negative. This combined offer was accepted and Hitchcock went ahead in spite of naysaying from producer Herbert Coleman and Shamley Productions executive Joan Harrison.[15]
James P. Cavanagh, a writer on the Alfred Hitchcock Presents television series, penned the original screenplay.[16] Hitchcock felt the script dragged and read like a television short horror story,[17] an assessment shared by an assistant.[16] Though Stefano had worked on only one film before, Hitchcock agreed to meet with him; despite Stefano's inexperience the meeting went well and he was hired.[16]
The screenplay is relatively faithful to the novel, with a few notable adaptations by Hitchcock and Stefano. Stefano found the character of Norman Bates — who, in the book, is middle-aged, overweight, and more overtly unstable — unsympathetic, but became more intrigued when Hitchcock suggested casting Anthony Perkins.[17] Stefano eliminated Bates' drinking,[18] which evidently necessitated removing Bates' "becoming" the Mother personality when in a drunken stupor. Also gone is Bates' interest in spiritualism, the occult and pornography.[19] Hitchcock and Stefano elected to open the film with scenes in Marion's life and not introduce Bates at all until 20 minutes into the film, rather than open with Bates reading a history book as Bloch does.[18] Indeed, writer Joseph W. Smith notes that, "Her story occupies only two of the novel's 17 chapters. Hitchcock and Stefano expanded this to nearly half the narrative".[20] He likewise notes there is no hotel tryst between Marion and Sam in the novel. For Stefano, the conversation between Marion and Norman in the hotel parlor in which she displays a maternal sympathy towards him makes it possible for the audience to switch their sympathies towards Norman Bates after Marion's murder.[21] When Lila Crane is looking through Norman's room in the film she opens a book with a blank cover whose contents are unseen; in the novel these are "pathologically pornographic" illustrations. Stefano wanted to give the audience "indications that something was quite wrong, but it could not be spelled out or overdone."[21] In his book of interviews with Hitchcock, François Truffaut notes that the novel "cheats" by having extended conversations between Norman and "Mother" and stating what Mother is "doing" at various given moments.[22] For obvious reasons, these were omitted from the film.
The first name of the female protagonist was changed from Mary to Marion, since a real Mary Crane existed in Phoenix.[23] Also changed is the novel's budding romance between Sam and Lila. Hitchcock preferred to focus the audience's attention on the solution to the mystery,[24] and Stefano thought such a relationship would make Sam Loomis seem cheap.[21] Instead of having Sam explain Norman's pathology to Lila, the film uses a psychiatrist.[25] (Stefano was in therapy dealing with his relationship with his own mother at the time of writing the film.)[26] The novel is more violent than the film; for instance, Crane is beheaded in the shower as opposed to being stabbed to death.[16] Minor changes include changing Marion's telltale earring found after her death to a scrap of paper that failed to flush down the toilet. This provided some shock effect, since toilets were virtually never seen in American cinema in the 1960s.[27] The location of Arbogast's death was moved from the foyer to the stairwell. Stefano thought this would make it easier to conceal the truth about "Mother" without tipping that something was being hidden.[28] As Janet Leigh put it, this gave Hitchcock more options for his camera.[25]
Paramount, whose contract guaranteed another film by Hitchcock, did not want Hitchcock to make Psycho. Paramount was expecting No Bail for the Judge starring Audrey Hepburn, who became pregnant and had to bow out, leading Hitchcock to scrap the production. Their official stance was that the book was "too repulsive" and "impossible for films", and nothing but another of his star-studded mystery thrillers.[11][29] They did not like "anything about it at all" and denied him his usual budget.[11][29] So, Hitchcock financed the film's creation through his own Shamley Productions, shooting at Universal Studios under the Revue television unit.[14][30] Hitchcock's original Bates Motel and Psycho House movie set buildings, which were constructed on the same stage as Lon Chaney Sr.'s The Phantom of the Opera, are still standing at Universal Studios in Universal City near Hollywood and are a regular attraction on the studio's tour.[31][32] As a further result of cost cutting, Hitchcock chose to film Psycho in black and white, keeping the budget under $1,000,000.[33] Other reasons for shooting in black and white were his desire to prevent the shower scene from being too gory and his admiration for Les Diaboliques's use of black and white.[34][35]
To keep costs down and because he was most comfortable around them, Hitchcock took most of his crew from his television series Alfred Hitchcock Presents, including the cinematographer, set designer, script supervisor, and first assistant director.[36] He hired regular collaborators Bernard Herrmann as music composer, George Tomasini as editor, and Saul Bass for the title design and storyboarding of the shower scene. In all, his crew cost $62,000.[37]
Through the strength of his reputation, Hitchcock cast Leigh for a quarter of her usual fee, paying only $25,000 (in the 1967 book Hitchcock/Truffaut, Hitchcock said that Leigh owed Paramount one final film on her seven-year contract which she had signed in 1953).[38] His first choice, Leigh agreed after having only read the novel and making no inquiry into her salary.[23] Her co-star, Anthony Perkins, agreed to $40,000.[37] Both stars were experienced and proven box-office draws.
Paramount did distribute the film, but four years later Hitchcock sold his stock in Shamley to Universal's parent company and his next six films were made at and distributed by Universal Pictures.[30] After another four years, Paramount sold all rights to Universal.[30]
The film, independently produced and financed by Hitchcock, was shot at Revue Studios,[39] the same location as his television show. Psycho was shot on a tight budget of $806,947.55,[40] beginning on November 11, 1959 and ending on February 1, 1960.[41][42] Filming started in the morning and finished by six or earlier on Thursdays (when Hitchcock and his wife would dine at Chasen's).[43] Nearly the whole film was shot with 50 mm lenses on 35 mm cameras. This trick closely mimicked normal human vision, which helped to further involve the audience.[44]
Before shooting began in November, Hitchcock dispatched assistant director Hilton Green to Phoenix to scout locations and shoot the opening scene. The shot was supposed to be an aerial shot of Phoenix that slowly zoomed into the hotel window of a passionate Marion and Sam. Ultimately, the helicopter footage proved too shaky and had to be spliced with footage from the studio.[45] Another crew filmed day and night footage on Highway 99 between Fresno and Bakersfield, California for projection when Marion drives from Phoenix. They also provided the location shots for the scene in which she is discovered sleeping in her car by the highway patrolman.[45] In one street scene shot in downtown Phoenix, Christmas decorations were discovered to be visible; rather than re-shoot the footage, Hitchcock chose to add a graphic to the opening scene marking the date as "Friday, December the Eleventh".[46]
Green also took photos of a prepared list of 140 locations for later reconstruction in the studio. These included many real estate offices and homes such as those belonging to Marion and her sister.[45] He also found a girl who looked just like he imagined Marion and photographed her whole wardrobe, which would enable Hitchcock to demand realistic looks from Helen Colvig, the wardrobe supervisor.[45] The look of the Bates house was modeled on Edward Hopper's painting The House by the Railroad.[47]
Both the leads, Perkins and Leigh, were given freedom to interpret their roles and improvise as long as it did not involve moving the camera.[48] An example of Perkins' improvisation is Norman's habit of eating candy corn.[49]
Throughout filming, Hitchcock created and hid various versions of the "Mother corpse" prop in Leigh's dressing room closet. Leigh took the joke well, and she wondered whether it was done to keep her on edge and thus more in character or to judge which corpse would be scarier for the audience.[50]
During shooting, Hitchcock was forced to uncharacteristically do retakes for some scenes. The final shot in the shower scene, which starts with an extreme close-up on Marion's eye and pulls up and out, proved very difficult for Leigh, since the water splashing in her face made her want to blink, and the cameraman had trouble as well since he had to manually focus while moving the camera.[48] Retakes were also required for the opening scene, since Hitchcock felt that Leigh and Gavin were not passionate enough.[51] Leigh had trouble saying "Not inordinately" for the real estate office scene, requiring additional retakes.[52] Lastly, the scene in which the mother is discovered required complicated coordination of the chair turning around, Miles hitting the light bulb, and a lens flare, which proved to be the sticking point. Hitchcock forced retakes until all three elements were to his satisfaction.[53]
According to Hitchcock, a series of shots with Arbogast going up the stairs in the Bates house before he is stabbed were directed by Hilton Green, working with storyboard artist Saul Bass' drawings only while Hitchcock was incapacitated with the common cold. However, upon viewing the dailies of the shots, Hitchcock was forced to scrap them. He claimed they were "no good" because they did not portray "an innocent person but a sinister man who was going up those stairs".[54] Hitchcock later re-shot the scene, though a little of the cut footage made its way into the film. Filming the murder of Arbogast proved problematic owing to the overhead camera angle necessary to hide the film's twist. A camera track constructed on pulleys alongside the stairway together with a chairlike device had to be constructed and thoroughly tested over a period of weeks.[55]
Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Psycho, he can be seen through a window – wearing a Stetson hat – standing outside Marion Crane's office.[56] Wardrobe-mistress Rita Riggs has said that Hitchcock chose this scene for his cameo so that he could be in a scene with his daughter (who played one of Marion's colleagues). Others have suggested that he chose this early appearance in the film in order to avoid distracting the audience.[57]
The murder of Janet Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of cinema. As such, it spawned numerous myths and legends. It was shot from December 17 to December 23, 1959, and features 77 different camera angles.[58] The scene "runs 3 minutes and includes 50 cuts."[59] Most of the shots are extreme close-ups, except for medium shots in the shower directly before and directly after the murder. The combination of the close shots with their short duration makes the sequence feel more subjective than it would have been if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as "transferring the menace from the screen into the mind of the audience".[60]
In order to capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the shower head were blocked and the camera placed a sufficient distance away so that the water, while appearing to be aimed directly at the lens, actually went around and past it.[61]
The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled "The Murder". Hitchcock originally intended to have no music for the sequence (and all motel scenes),[62] but Herrmann insisted he try his composition. Afterward, Hitchcock agreed it vastly intensified the scene, and nearly doubled Herrmann's salary.[63][64][65] The blood in the scene is reputed to have been Bosco chocolate syrup,[66] which shows up better on black-and-white film, and has more realistic density than stage blood.[1] The sound of the knife entering flesh was created by plunging a knife into a casaba melon.[67][68]
There are varying accounts whether Leigh was in the shower the entire time or a body double was used for some parts of the murder sequence and its aftermath. In an interview with Roger Ebert and in the book Alfred Hitchcock and the Making of Psycho, Leigh stated she was in the scene the entire time and Hitchcock only used a stand-in for the sequence in which Norman wraps Marion's body in a shower curtain and places it in the trunk of her car.[69] The 2010 book The Girl in Alfred Hitchcock's Shower by Robert Graysmith contradicts this, identifying Marli Renfro as Leigh's body double for some of the shower scene's shots.[70]
A popular myth emerged that in order for Leigh's scream in the shower to sound realistic ice-cold water was used. Leigh denied this on numerous occasions, saying the crew was very accommodating supplying hot water throughout the week-long shoot.[71] All of the screams are Leigh's.[8]
Another concerns Saul Bass, the graphic designer who created many of the title sequences of Hitchcock's films and storyboarded some of Psycho's scenes, claiming he had directed the shower scene. This was refuted by several figures associated with the film, including Leigh, who stated: "absolutely not! I have emphatically said this in any interview I've ever given. I've said it to his face in front of other people... I was in that shower for seven days, and, believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots."[72] Hilton Green, the assistant director, also refutes Bass' claim: "There is not a shot in that movie that I didn't roll the camera for. And I can tell you I never rolled the camera for Mr. Bass."[72] Roger Ebert, a longtime admirer of Hitchcock's work, summarily dismissed the rumor, stating, "It seems unlikely that a perfectionist with an ego like Hitchcock's would let someone else direct such a scene."[73]
However, commentators such as Stephen Rebello and Bill Krohn have argued in favor of Bass' contribution to the scene in his capacity as visual consultant and storyboard artist.[74] Along with designing the opening credits, Bass is termed "Pictorial Consultant" in the credits. When interviewing Hitchcock in 1967, François Truffaut asked about the extent of Bass' contribution, to which Hitchcock replied that in addition to the titles Bass had provided storyboards for the Arbogast murder (which he claimed to have rejected), but made no mention of Bass providing storyboards for the shower scene.[75] According to Bill Krohn's Hitchcock At Work, Bass' first claim to have directed the scene was in 1970, when he provided a magazine with 48 drawings used as storyboards as proof of his contribution.[76]
Krohn's analysis of the production of Psycho in his book Hitchcock at Work, while refuting Bass' claims for directing the scene, notes that these storyboards did introduce key aspects of the final scene—most notably, the fact that the killer appears as a silhouette, and details such as the close-ups of the slashing knife, Leigh's desperate outstretched arm, the shower curtain being torn down, and the transition from the hole of the drainage pipe to Marion Crane's dead eyes. Krohn notes that this final transition is highly reminiscent of the iris titles that Bass created for Vertigo.[76]
Krohn's research also notes that Hitchcock shot the scene with two cameras: one a BNC Mitchell, the other a handheld camera called an Éclair which Orson Welles had used in Touch of Evil (1958). In order to create an ideal montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he trimmed down in the editing room. He even brought a Moviola on the set to gauge the footage required. The final sequence, which his editor George Tomasini worked on with Hitchcock's advice, however did not go far beyond the basic structural elements set up by Bass' storyboards.[76]
According to Donald Spoto in The Dark Side of Genius, Hitchcock's wife, Alma Reville, spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink. According to Patricia Hitchcock, talking in Laurent Bouzereau's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath. In either case, the postmortem activity was edited out and was never seen by audiences.[16] Although Marion's eyes should be dilated after her death, the contact lenses necessary for this effect would have required six weeks of acclimatization to wear them, so Hitchcock decided to forgo them.[77]
It is often claimed that, despite its graphic nature, the "shower scene" never once shows a knife puncturing flesh.[78][79][80] However, a frame by frame analysis of the sequence shows one shot in which the knife appears to penetrate Leigh's abdomen, but the effect may have been created by lighting and reverse motion.[81] Leigh herself was so affected by this scene when she saw it, that she no longer took showers unless she absolutely had to; she would lock all the doors and windows and would leave the bathroom and shower door open.[82] She never realized until she first watched the film "how vulnerable and defenseless one is".[16]
Leigh and Hitchcock fully discussed what the scene meant:
"Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters. The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul. She was like a virgin again, tranquil, at peace".[72]
Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the "alienation effect" of killing off the "apparent center of the film" with which spectators had identified.[83]
In April 2013, the scene was voted the best bathroom scene of any film in history, with scenes from Trainspotting and There's Something About Mary coming second and third.[84]
Hitchcock insisted that Bernard Herrmann write the score for Psycho, in spite of the composer's refusal to accept a reduced fee for the film's lower budget.[85] The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement."[86] Hitchcock was pleased with the tension and drama the score added to the film,[87] later remarking "33% of the effect of Psycho was due to the music."[88] The singular contribution of Herrmann's score may be inferred from the film's credit roll, where the composer's name precedes only the director's own, a distinction unprecedented in the annals of commercial cinematic music.
Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble,[85] contrary to Hitchcock's request for a jazz score.[89] He thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film.[90] Hollywood composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics and instrumental special effects than any other single instrumental group would have.[91]
The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack.[92][93] Though nothing shocking occurs during the first 15–20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes.[92] Herrmann also maintains tension through the slower moments in the film through the use of ostinato.[88]
There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene. The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness."[94] The only electronic amplification employed was in the placing of the microphones close to the instruments, to get a harsher sound.[94] Besides the emotional impact, the shower scene cue ties the soundtrack to birds.[94] The association of the shower scene music with birds also telegraphs to the audience that it is Norman, the stuffed-bird collector, who is the murderer rather than his mother.[94]
Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous (and most imitated) cue in film music,"[90] but Hitchcock was originally opposed to having music in this scene.[94] When Herrmann played the shower scene cue for Hitchcock, the director approved its use in the film. Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion."[95] This was one of two important disagreements Hitchcock had with Herrmann, in which Herrmann ignored Hitchcock's instructions. The second one, over the score for Torn Curtain (1966), resulted in the end of their professional collaboration.[96] A survey conducted by PRS for Music, in 2009, showed that the British public consider the score from 'the shower scene' to be the scariest theme from any film.[97]
To honor the 50th anniversary of Psycho, in July 2010, the San Francisco Symphony[98] obtained a print of the film with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra performed the score live. This was previously mounted by the Seattle Symphony in October 2009 as well, performing at the Benaroya Hall for two consecutive evenings. These performances are part of John Goberman's offering of films with great music performed by live orchestras: A Symphonic Night at the Movies, These special events range from "Alexander Nevsky" to "Singin in the Rain" to "Hitchcock!".
Several CDs of the film soundtrack have been released, including:
Psycho is a prime example of the type of film that appeared in the United States during the 1960s after the erosion of the Production Code. It was unprecedented in its depiction of sexuality and violence, right from the opening scene in which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.[101] In the Production Code standards of that time, unmarried couples shown in the same bed would be taboo.[102]
According to the book Alfred Hitchcock and the Making of Psycho, the censors in charge of enforcing the Production Code wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts. Hitchcock held onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their positions: those who had previously seen the breast now did not, and those who had not, now did. They passed the film after the director removed one shot that showed the buttocks of Leigh's stand-in.[103] The board was also upset by the racy opening, so Hitchcock said that if they let him keep the shower scene he would re-shoot the opening with them on the set. Since they did not show up for the re-shoot, the opening stayed.[103]
Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents (torn-up note paper) fully visible. No flushing toilet had appeared in mainstream film and television in the U.S. at that time.[104][105][106]
Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene. In Britain and New Zealand the shot of Norman washing blood from his hands was objected to and in Singapore, though the shower scene was left untouched, the murder of Arbogast and a shot of Mother's corpse were removed.[107]
The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the time. It was not entirely original as Clouzot had done the same in France for Les Diaboliques.[108] Hitchcock thought that if people entered the theater late and never saw the star actress Janet Leigh, they would feel cheated.[30] At first theater owners opposed the idea, claiming that they would lose business. However, after the first day, the owners enjoyed long lines of people waiting to see the film.[30]
Hitchcock did most of the promotion on his own, forbidding Leigh and Perkins to make the usual television, radio, and print interviews for fear of their revealing the plot.[109] Even critics were not given private screenings but rather had to see the film with the general public, which, despite possibly affecting their reviews,[107] certainly preserved the secret.
The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away plot details before stopping himself. It is "tracked" with Bernard Herrmann's Psycho theme, but also jovial music from Hitchcock's comedy The Trouble with Harry; most of Hitchcock's dialogue is post-synchronized. The trailer was made after completion of the film, and since Janet Leigh was no longer available for filming, Hitchcock had Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview. Since the title, "Psycho," instantly covers most of the screen, the switch went unnoticed by audiences for years. However, a freeze-frame analysis clearly reveals that it is Vera Miles and not Janet Leigh in the shower during the trailer.[30]
The film was so successful that it was reissued to theaters in 1965. A year later, CBS purchased the television rights for $450,000. CBS planned to televise the film on September 23, 1966, but three days earlier, Valerie Percy, daughter of Illinois senate candidate Charles H. Percy, was murdered. As her parents slept mere feet away, she was stabbed a dozen times with a double-edged knife. In light of the murder, CBS agreed to postpone the screening, but as a result of the Apollo pad fire of January 27, 1967, the network washed its hands of Psycho,[110] and shortly afterward Paramount included the film in its first syndicated package of post-1950 movies, "Portfolio I". WABC-TV in New York City was the first station in the country to air Psycho (with some scenes significantly edited), on its late-night movie series, The Best of Broadway, on June 24, 1967.[111] Following another successful theatrical reissue in 1969, the film finally made its way to general television airing in one of Universal's syndicated programming packages for local stations in 1970. Psycho was aired for twenty years in this format, then leased to cable for two years before returning to syndication as part of the "List of a Lifetime" package.[110]
In Psycho, Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it prevents "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.[112] 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.[113] 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." Unlike heroines in Hitchcock's other films, she does not reestablish her innocence or discover love.[114]
Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness. There exists among Psycho's 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.[115] Norman also suffers a similarly perverse definition of domesticity. He has "an infantile and divided personality" and lives in a mansion whose past occupies the present. Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room. He is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace" and as a result kills Marion to preserve his past. Brill explains, "'Someplace' for Norman is where his delusions of love, home, and family are declared invalid and exposed."[116]
Light and darkness feature prominently in Psycho. The first shot after the intertitle is the sunny landscape of Phoenix before the camera enters a dark hotel room where Sam and Marion appear as bright figures. Marion is almost immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she enters her bedroom. When she flees Phoenix, darkness descends on her drive. The following sunny morning is punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in near darkness.[117] Bright lights are also "the ironic equivalent of darkness" in the film, blinding instead of illuminating. Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit cellar's exposed light bulb shining on the corpse of Norman's mother. Such bright lights typically characterize danger and violence in Hitchcock's films.[118]
The film often features shadows, mirrors, windows, and, less so, water. The shadows are present from the very first scene where the blinds make bars on Marion and Sam as they peer out the window. The stuffed birds' shadows loom over Marion as she eats, and Norman's mother is seen in only shadows until the very end. More subtly, back-lighting turns the rakes in the hardware store into talons above Lila's head.[119]
Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman's sunglasses, and her hands as she counts out the money in the car dealership's bathroom. A motel window serves as a mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone booth, when Arbogast phones Sam and Lila. The heavy downpour can be seen as foreshadowing of the shower, and it letting up can be seen as a symbol of Marion making up her mind to return to Phoenix.[119]
There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments that Marion eats like a bird. The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being a British slang for a desirable woman.[120] Robert Allan suggests that Norman's mother is his original "stuffed bird", both in the sense of having preserved her body and the incestuous nature of Norman's emotional bond with her.[121]
Psycho has been called "the first psychoanalytical thriller."[122] The sex and violence in the film were unlike anything previously seen in a mainstream film. "[T]he shower scene is both feared and desired," wrote French film critic Serge Kaganski. "Hitchcock may be scaring his female viewers out of their wits, but he is turning his male viewers into potential rapists, since Janet Leigh has been turning men on ever since she appeared in her brassiere in the first scene."[122]
In his documentary The Pervert's Guide to Cinema, Slavoj Žižek remarks that Norman Bates' mansion has three floors, paralleling the three levels of the human mind that are postulated by Freudian psychoanalysis: the top floor would be the superego, where Bates' mother lives; the ground floor is then Bates' ego, where he functions as an apparently normal human being; and finally, the basement would be Bates' id. Žižek interprets Bates' moving his mother's corpse from top floor to basement as a symbol for the deep connection that psychoanalysis posits between superego and id.[123]
Initial reviews of the film were thoroughly mixed.[124] Bosley Crowther of The New York Times wrote, "There is not an abundance of subtlety or the lately familiar Hitchcock bent toward significant and colorful scenery in this obviously low-budget job." Crowther called the "slow buildups to sudden shocks" reliably melodramatic but contested Hitchcock's psychological points, reminiscent of Krafft-Ebing's studies, as less effective. While the film did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".[125] British critic C. A. Lejeune was so offended that she not only walked out before the end but permanently resigned her post as film critic for The Observer.[126] Other negative reviews stated, "a blot on an honorable career", "plainly a gimmick movie", and "merely one of those television shows padded out to two hours."[124][127] Positive reviews stated, "Anthony Perkins' performance is the best of his career... Janet Leigh has never been better", "played out beautifully", and "first American movie since Touch of Evil to stand in the same creative rank as the great European films."[124][128] A good example of the mix is the New York Herald Tribune's review, which stated, "...rather difficult to be amused at the forms insanity may take... keeps your attention like a snake-charmer."[124]
The public loved the film, with lines stretching outside of theatres as people had to wait for the next showing. It broke box-office records in Japan and the rest of Asia, France, Britain, South America, the United States and Canada, and was a moderate success in Australia for a brief period.[124] It was the most profitable black-and-white sound film ever made, and Hitchcock personally realized well in excess of $15 million. 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. But that didn't stop them from interfering with him badly.[129][130] Psycho was, by a large margin, the most profitable film of Hitchcock's career, earning over $12 million for the studio on release, and $15 million by the end of the year. Hitchcock's second most profitable was Family Plot ($7,541,000), and third place was a tie between Torn Curtain (1966) and Frenzy (1972), each earning $6,500,000.
In the United Kingdom, the film shattered attendance records at the London Plaza Cinema, but nearly all British critics panned it, questioning Hitchcock's taste and judgment. Reasons cited for this were the critics' late screenings, forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.[131] Perhaps thanks to the public's response and Hitchcock's efforts at promoting it, the critics did a re-review, and the film was praised. TIME switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative" and "masterly", and Bosley Crowther put it on his Top Ten list of 1960.[131]
Psycho was initially criticized for making other filmmakers more willing to show gore; three years later, Blood Feast, considered to be the first "splatter film", was released.[132] Psycho's success financially and critically had others trying to ride its coattails. Inspired by Psycho, Hammer Film Productions launched a series of mystery thrillers including The Nanny[133] (1965) starring Bette Davis and William Castle's Homicidal (1961) was followed by a slew of more than 13 other splatter films.[132]
Award | Category | Name | Outcome |
Academy Awards (33rd) | Director | Alfred Hitchcock | Nominated |
Best Supporting Actress | Janet Leigh | Nominated | |
Best Cinematography, Black-and White | John L. Russell | Nominated | |
Best Art Direction-Set Decoration, Black-and-White | Joseph Hurley, Robert Clatworthy, George Milo | Nominated | |
Directors Guild of America | Outstanding Directorial Achievement in Motion Pictures | Alfred Hitchcock | Nominated |
Edgar Allan Poe Awards | Best Motion Picture | Joseph Stefano (screenwriter), Robert Bloch (author) | Won |
International Board of Motion Picture Reviewers | Best Actor | Anthony Perkins | Won (tie) |
Golden Globe Awards (18th) | Best Supporting Actress | Janet Leigh | Won |
Writers Guild of America, East | Best Written American Drama | Joseph Stefano | Nominated |
In 1992, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.
In 1998, TV Guide ranked it #8 on their list of the 50 Greatest Movies on TV (and Video).[134]
Leigh asserted, "no other murder mystery in the history of the movies has inspired such merchandising."[135] Any number of items emblazoned with Bates Motel, stills, lobby cards, and highly valuable posters are available for purchase. In 1992, it was adapted scene-for-scene into three comic books by the Innovative Corporation.[135]
Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was featured as number four on the list of Bravo Network's 100 Scariest Movie Moments,[136] whilst the finale was ranked number four on Premiere's similar list.[137] Entertainment Weekly's book titled The 100 Greatest Movies of All Time ranked the film as #11.[1]
Three sequels were produced: Psycho II (1983), Psycho III (1986), and Psycho IV: The Beginning (1990), the last being a part-prequel television movie written by the original screenplay author, Joseph Stefano. Anthony Perkins returned to his role of Norman Bates in all three sequels, and also directed the third film. The voice of Norman Bates' mother was maintained by noted radio actress Virginia Gregg with the exception of Psycho IV, where the role was played by Olivia Hussey. Vera Miles also reprised her role of Lila Crane in Psycho II.[139] The sequels were well received but considered inferior to the original.[140][141]
Bates Motel was a failed television pilot spin-off which later aired as a television movie (before the release of Psycho IV). Anthony Perkins declined to appear in the pilot, so Norman's cameo appearance was played by Kurt Paul, who was Perkins' stunt double on Psycho II and III.[142] In 1998, Gus Van Sant directed a remake of Psycho. The film is in color and features a different cast, but aside from this it is a virtually shot-for-shot remake copying Hitchcock's camera movements and editing.[143] A Conversation with Norman (2005), directed by Jonathan M. Parisen, was a film inspired by Psycho.
In 2005, it was reported that a new drama film was in development based on the book by Stephen Rebello, Alfred Hitchcock and the Making of Psycho. The film was originally titled Alfred Hitchcock Presents, and it was originally to be directed by Ryan Murphy.[144] Later the film was retitled Hitchcock, and filming began on April 13, 2012.[145] Filming was completed in early June 2012 with a worldwide release on December 14, 2012. The film centers on the relationship between Alfred Hitchcock and his wife and co-worker Alma Reville during the filming of Psycho in 1959. The film was directed by Sacha Gervasi and written by John McLaughlin and Stephen Rebello. The film stars Anthony Hopkins as Alfred Hitchcock, Helen Mirren as Alma Reville, Scarlett Johansson as Janet Leigh, Jessica Biel as Vera Miles and James D'Arcy as Anthony Perkins. The film was released worldwide on December 14, 2012, to mostly positive reviews and one Academy Award nomination.
On October 19, 2010, an independent documentary called The Psycho Legacy was released on DVD. The documentary discussed the legacy and impact Psycho has had, not only on cinema, but on the world in general. The documentary also included production stories about Psycho II, Psycho III and Psycho IV: The Beginning. This documentary received mostly positive reviews from critics and fans.
On January 13, 2012, A&E announced that a television series called Bates Motel was in development at the network. The TV series has nothing to do with the earlier Bates Motel failed TV pilot released in 1987. The series takes place before the events of the original film and chronicles Norman Bates' teen years living at the Bates Motel, as did the flashback sequences in Psycho IV: The Beginning.[146] However, the series is set in the present day in a seaside town in Oregon rather than the inland California town of the film - thus the series is a reboot, though it's been widely reviewed as a prequel, as it is devoted to providing a backstory to a younger Norman Bates prior to his becoming a murderer. In July 2012, A&E announced that the network had picked up the show for a 10 episode first season, skipping the initial pilot stage. The series premiered on March 18, 2013 to high ratings and very positive reviews. The show has been renewed for a second season to air in 2014.
Psycho has become one of the most recognizable films in cinema history, and is arguably Hitchcock's best known film.[147][148] In his novel, Bloch used an uncommon plot structure: he repeatedly introduced sympathetic protagonists, then killed them off. This played on his reader's expectations of traditional plots, leaving them uncertain and anxious. Hitchcock recognized the effect this approach could have on audiences, and utilized it in his adaptation, killing off Leigh's character at the end of the first act. This daring plot device, coupled with the fact that the character was played by the biggest box-office name in the film, was a shocking turn of events in 1960.[101]
The most original and influential moment in the film is the "shower scene", which became iconic in pop culture because it is often regarded as one of the most terrifying scenes ever filmed. Part of its effectiveness was due to the use of startling editing techniques borrowed from the Soviet montage filmmakers,[149][150] and to the iconic screeching violins in Bernard Herrmann's musical score. The iconic shower scene is frequently spoofed, given homage to and referenced in popular culture, complete with the violin screeching sound effects (see Charlie and the Chocolate Factory, among many others).[151]
Psycho is now widely considered to be the first film in the slasher film genre,[152][153] and has been referenced in films numerous times; examples include the 1974 musical horror film Phantom of the Paradise, 1978 horror film Halloween (which starred Jamie Lee Curtis, Janet Leigh's daughter),[154] the 1977 Mel Brooks tribute to many of Hitchcock's thrillers, High Anxiety, the 1980 Fade to Black, the 1980 Dressed to Kill and Wes Craven's 1996 horror satire Scream.[155] Bernard Herrmann's opening theme has been sampled by rapper Busta Rhymes on his song "Gimme Some More" (1998).[156] Manuel Muñoz's 2011 novel What You See in the Dark includes a sub-plot that fictionalises elements of the filming of Psycho, referring to Hitchcock and Leigh only as "The Director" and "The Actress".[157] In the comic book stories of Jonni Future, the house inherited by title character is patterned after the Bates Hotel.[158] The ending sequence is also parodied by South Park in "City Sushi".
Psycho has been rated and re-rated several times over the years by the MPAA. Upon its initial release, the film received a certificate stating that it was "Approved" (certificate #19564) under the simple pass/fail system of the Production Code in use at that time. Later, when the MPAA switched to a voluntary letter ratings system in 1968, Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" (Mature Audiences).[159] This remained the only rating the film would receive for 16 years, and according to the guidelines of the time "M" was the equivalent of a "PG" rating.[160][161] Then, in 1984, during the uproar of increased parental concern regarding violence in "PG" films,[160][161] Psycho was retro-rated again to its current rating of "R". This rating took effect, however, before the institution of the "PG-13" rating by the MPAA that same year, and there are those who have speculated that if the rating had existed at the time, or if Psycho were rated in America today, it would receive a "PG-13".[162]
The film has been released several times on videotape, LaserDisc, DVD, and Blu-ray Disc. MCA DiscoVision Incorporated (parent company, MCA Inc) first released Psycho on the LaserDisc format in "standard play" (5 sides) in 1979, and "extended play" (2 sides) in October 1981. MCA/Universal Home Video released a new LaserDisc version of Psycho in August 1988 (Catalog #: 11003). In May 1998, Universal Studios Home Video released a deluxe edition of Psycho as part of their Signature Collection. This THX® certified Widescreen (1.85:1) LaserDisc Deluxe Edition (Catalog #: 43105) is spread across 4 extended play sides and 1 standard play side, and includes a new documentary and isolated Bernard Hermann score. A DVD edition was released in at the same time as the LaserDisc.[163]
Laurent Bouzereau produced a documentary looking at the film's production and reception for the initial DVD release. Universal released a 50th Anniversary edition on Blu-ray in the United Kingdom on 9 August 2010,[164] with Australia following with the same edition (featuring a different cover) being made available on 1 September 2010.[165] A Blu-ray in US was released on October 19, 2010 to mark the film's 50th anniversary, featuring yet another different cover.[166] The film is also included on two different Alfred Hitchcock Blu-ray boxsets from Universal.[167][168]
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COHOES, N.Y. -- Cohoes firefighters took on a special holiday assignment, helping Santa for the annual "Cheer for Children" program.
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Craftsy:: online crafting classes
A wide selection of online crafting classes from the best instructors from around the world. Watch your classes from anywhere, from any device with an internet connection. Take them anytime you want,...
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High quality authentic boning corset (Retail Price is more than $300)
Made of PVC, fully lined with 100% cotton.
Back lacing with steel front busk closure
Style lifts and supports the bust, draws in waist, flattens tummy.
Great style for outwear
The corset has 14 steel bones to help you achieve that hour glass figure
10 spiral steel bones and 4 rigid steel bones around the grommets for reinforcement for tighter lacing.
Bi-directional back lacing cinches inches off the waistline.
3 inches wide back panel (lacing guard)
Plus size corset is available that fits waist up to 46 inches. Please see our size guide for details.
Size: All size available. Please specify your size when you check out.
Style: Underbust
Color: Pink
Front: 10 inches (25.4cm)
Back: 11 inches (27.9cm)
Side: 10 inches (25.4cm)
Model: SC80053 Pink
Shopping Cart Software by Auctiva Commerce
Bustier Tops Corset Tops SKU: SC80072 Price: $138.49
Bustier Tops Corset Tops SKU: SC88026White Price: $118.60
heavy duty string for tight lacing corset SKU: SC88034 Price: $17.99


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Apr 25, 2013 | 01:46 PM |
Tags steel, Steel Dynamics Inc., SDI, The Techs, flat-rolled, Tommy Scruggs, Charles Trowbridge, Chris Stock
NEW YORK Steel Dynamics Inc. (SDI) has promoted three veteran sales and marketing executives in its flat-rolled steel division. Tommy Scruggs has been named sales manager at the Fort Wayne, Ind.-based steelmaker and will oversee all sales from both its flat-rolled division and....
NEW YORK Steel Dynamics Inc. (SDI) has promoted three veteran sales and marketing executives in its flat-rolled steel division.
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Will more metals companies discontinue health care coverage for their employees in light of the Affordable Care Act?
June 20-21, 2013 New York
Billet is the strongest part of the aluminum business right now. ... I can't pinpoint exactly why (but) ... some customers are ordering double what they did last year.
--Aluminum trader


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Lewis Thiede joined London Wasps as an Academy player in the summer of 2011 from Championship side Doncaster.
The young prop spent much of the season with London Scottish on loan but missed a large chunk of the year due to an infection.
He has now back training with the squad and is dual registered once again with Scottish.
Follow Lewis on Twitter @lewisthiede
Click the squad picture and the action pictures on the left to zoom them.


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< Return To Hearing
Chief Stefan LoBuglio
Pre-Release and Reentry Services Division Statement by Stefan LoBuglio, Chief email@example.com Hearing before the Subcommittee on Crime and Drugs On The First Line of Defense: Reducing Recidivism at the Local Level Thursday, November 5, 2009 My name is Stefan LoBuglio and I am Chief of Pre-Release and Reentry Services (PRRS) for the Montgomery County Department of Correction and Rehabilitation (DOCR) in Maryland. In my position, I work with over sixty correctional professionals and oversee a work-release program that transitions prisoners back into our community. Today, PRRS is supervising 175 male and female prisoners who are all within one-year of release, and who will complete their sentences in our community-based program. Our population includes 26 prisoners from the Federal Bureau of Prisons, 5 prisoners from the Maryland State's Division of Correction, and 144 prisoners from the two jails in Montgomery County. These individuals have been convicted for crimes ranging from misdemeanant petty theft and traffic offenses to Part I felony offenses for rape and homicide. They may be serving sentences ranging from 30 days to 30 years. A conviction for escape is the only offense that would disqualify a prisoner outright from the program. The Pre-Release program requires "residents", which is the term that we prefer to use instead of "prisoners" or "inmates," to follow a customized reentry plan consisting of work, education, treatment, and family engagement. They pay program fees, taxes, child support, and restitution. Most reside in our accredited 177-bed community correctional facility, which is located 15 miles from this hearing room in Rockville Maryland. For almost forty years, the program has served to keep our jail under crowded by managing over 16,000 residents in our community-based pre-release center. In concert with the other operational divisions of the DOCR, PRRS serves as a vital component of the county's investment strategy to effectively and judiciously use jail beds and community-based programs to maximize public safety and to minimize social and economic costs. Our program is one of many successful models of prisoner reentry that exist across the county, and our field has seen an explosion of interest in this topic over the past decade. However, with all of the accumulated knowledge about "what works" in prisoner reentry, why hasn't reentry penetrated the core of correctional practice for most of the 3,000 jail systems and 50 state prison systems in this country? Perhaps some delay is to be expected, as it takes time to change complex correctional operations. Our country has spent three decades quintupling our incarcerated population and it will take many years before prisoner reentry strategies become pervasive. A second and less examined reason, though, concerns the lack of incentives for correctional agencies to fully embrace a commitment to reentry and to take responsibility for lowering recidivism rates. Providing care, custody, and control in our jails and prisons is challenging to be sure, but fully within the scope and ability of correctional professionals. Reentry, however, requires a different, community focus. Adapting this new orientation is inhibited by the fact that the results are not easily measured, understood, or controlled. In my testimony today, I want to focus on the incentive problem and suggest two critical roles that the federal government can and should play to expedite the development and adoption of robust reentry strategies in our correctional systems. The first involves providing states and local jurisdictions with incentives to develop an infrastructure of One-Stop Reentry Residential Centers (ORRC) in conjunction with the Federal Bureau of Prisons. These centers would transition individuals leaving federal and state prisons and local jails through a regimen of work, treatment, and family engagement in the last months of their sentence. Too many of our state and federal prisons and local jails are overcrowded or otherwise lack the capacity to place minimum security inmates into such programs - programs that have been shown to successfully manage risk while improving the transition from secure confinement to civilian life. As described in Appendix A, the Montgomery County Pre-Release Center provides a viable model that demonstrates the considerable benefits that these centers provide to the incarcerated population, their families, the community, and the overall functioning of the correctional system. The second federal role involves developing robust data systems and analytical capabilities that would allow jurisdictions at all levels to measure key reentry performance measures in real time, and to readjust resources and policies as needed. The COMPSTAT model of informational analysis and resource deployment that transformed the New York City police department in the 1990s and that has fueled the growth of community policing nationwide provides the example for what is needed to spur the development of reentry strategies. Unfortunately, the myopic focus on recidivism rates as the single measure of success of reentry programs often obscures other key measures of community well-being and public safety. Also, recidivism proves surprisingly difficult to measure and interpret. For a recent study in Montgomery County, we encountered significant challenges in measuring our own recidivism outcomes, due to outmoded criminal justice record systems, replete with missing data, which must be accessed individually, and which require customized approaches to interpret and utilize the data. After this work, we found that the total three-year recidivism rates appeared high, but recidivism involving serious offenses was only one-third to one-fourth of the total rate. Preliminary results from that study are presented in Appendix B. I will leave it to the other panelist to describe why jails "matter" in the current discussion of prisoner reentry, because of their size, scope, and the cost and complexity of their operations. In previous testimony that I submitted to the House Judiciary Committee in March 2007 on behalf of the Second Chance Act of 2007, I also addressed these issues at length: http://judiciary.house.gov/hearings/March2007/LoBuglio070320.pdf
Many studies of federal, state, and local correctional systems find that inmates are over-classified - that is, they are occupying prison and jail beds at security levels higher than warranted - often due to the lack of available community correctional beds. This is a costly policy problem. If one considers a medium or maximum security prison cell, with its accompanying high staffing ratios, as a scarce resource, good correctional practice would reserve these beds for the truly dangerous. Increasing the number of community correctional pre-release beds will make all of our prisons safer for staff and inmates by providing much greater incentives for inmates to comply while in custody in order to have a greater chance of being "stepped down" to a community program. Research amply demonstrates the ability of these programs to reduce recidivism and improve institutional operations. Therefore, the development of ORRC capacity will lead to improvements within correctional systems beyond the improvement of transitional services. The Federal Bureau of Prisons currently oversees and funds the largest number of ORRC-type programs. Under mandate from the Second Chance Act of 2007 and with the support of its leadership, the FBOP has accelerated its efforts to place federal prisoners in ORRCs when they are within one-year of release. They have developed an excellent system of oversight to ensure that locally-run programs meet the Bureau's strict set of performance and correctional standards. However, the FBOP is constrained by the absence or limited availability of community correctional beds in some jurisdictions such as Northern Virginia. As a result, soon-to-be released prisoners are either placed in ORRCs that are not proximate to their returning communities and/or spend much less time in the limited community beds that need to be rationed. Both of these responses to limited capacity undermine the model of inmate release underlying the program in the first place. Although there is a chronic shortage of community correction beds in our country, curiously many go unused on a daily basis due to poorly coordinated practices between the different correctional agencies that contract for them. While the number of prisons vastly expanded in the past 30 years, there has been no proportional increase in community correction facilities. Many non-profits and religious organizations that had operated these centers lacked the financial capital required to bring them up to higher building codes and correctional accreditation standards, and some beds and facilities have been taken offline. In some jurisdictions, the agency or organization running the community correctional facility may prefer to contract with the FBOP due to its ability to pay higher per diem costs than most state and local correctional agencies. Community correctional beds are not necessarily cheaper than institutional beds, and in tight budget times, state and local correctional agencies often cut these programs first. However, probably the larger reason for the low utilization rates concerns the lack of incentives that state and local correctional agencies have to fully engage in a reentry mission rather than retreat to the traditional goals of running clean, safe, and orderly institutions that meet correctional and constitutional standards. Simply put, correctional agencies bear the costs and risks of reentry while the benefits accrue to individuals and the general community in ways that are hard to measure. Commissioner A.T. Wall of Rhode Island relates two closely-spaced incidents in his career that illustrate this paradox. A prisoner from a maximum security institution escaped but fortunately was apprehended. The escape triggered a public outcry for Wall's resignation, which Wall said he could understand. As commissioner he was ultimately responsible for safeguarding the prisoners in his system. By way of contrast, however, when a former prisoner committed a vicious killing just days after release, no one sought to put blame on him for poorly preparing this individual for release. The lesson, he said, was that correctional agencies will be held responsibility for the actions of individuals while in custody, but not after release. By definition, reentry extends the reach of corrections into the community and beyond the safe confines of the prison walls which makes it feel risky to many correctional practitioners. The most notorious example of the risk averseness in community corrections was the decision by the Massachusetts Department of Correction to discontinue the use of halfway house beds in 1988 in response to the highly publicized and politicized case of Willie Horton. Horton escaped from a furlough program in Massachusetts and committed a heinous crime in Maryland before his apprehension. Many other correctional systems also retrenched their commitment to community corrections as a result of this case. Under the leadership of a new commissioner, the Massachusetts DOC finally resumed using halfway house beds in March of 2009 after a 21 year hiatus. To address the concerns about risk, federal incentives could coalesce a wide spectrum of stakeholders from law enforcement to human service providers who have come to understand the public safety and human dimensions of prisoner reentry. Such a coalition could potentially mitigate the risk to correctional agencies in engaging in reentry by taking some ownership and responsibility in the program themselves. The coalition could also prove helpful in overcoming some of the resistance to site ORRC facilities near jobs and transportation. In some jurisdictions, the political will and correctional leadership may prove insufficient, and communities may decide not to allow the development of these community correctional centers. However, other jurisdictions may argue persuasively that ORRCs will prove more effective and safer in reentering local, state, and federal prisoners upon release to communities than the alternative of having them live transiently on the streets, shelters, and on the couches of friends. Federal incentives can change the landscape of corrections. In 1994, the Truth-in-Sentencing legislation tied federal subsidies for corrections to sentencing reforms and helped spur a boom in the construction of prisons. Under this proposal, the federal government could use the same strategy by offering assistance to build and operate One-Stop Reentry Residential Centers for those state and local jurisdictions that agree to an integrated prisoner reentry strategy in coordination with the Federal Bureau of Prisons. Develop Reentry COMPSTAT-type Informational Systems As evidence of this problem, I would like to mention a recidivism study that we recently conducted in Montgomery County in collaboration with Justice & Security Strategies, a consulting firm, and with funding from the Maryland Governor's Office of Crime Control and Prevention. The preliminary analytical results are presented in Appendix B. One of the main findings of the research project was just how difficult it is to conduct a comprehensive study. Even with four doctorate-level researchers and experts in interpreting criminal records from the local, state, and federal record systems, we had to access seven databases, contact half-a-dozen agencies, establish data sharing arrangements, print and review tens of thousands of pages of RAP sheets, develop algorithms to translate data from paper and from electronic sources consistently into newly created databases, and to double check repeatedly for inconsistencies and missing data. For instance, we found that the overlap in capturing Part I crimes in the FBI/NCIC databases and the Maryland State Record of Arrest and Prosecution was highly imperfect, and records were needed from each of the systems to complete comprehensive criminal records for the study sample. Not surprisingly, the more places we looked for criminal records and the more sophisticated our data culling strategies became, the higher became our computed rates of recidivism. This gives credence to concerns that programs that receive funding based on promised reductions in recidivism will have few incentives to conduct exhaustive analyses. In our study, we found that measured recidivism rates were one-third higher than would have been measured by the "usual" technique of looking at Maryland state data only. Without access to effective reentry information systems, the reasonable expectations that evaluation will determine which programs are working for whom and to what extent is folly. With federal support, we could develop information systems that help us use recidivism rates to better understand offender flow within criminal justice and social services systems for policy analysis, rather than as a crude measurement of program success. Recidivism is affected by many factors including changes in police, probation, and parole practices, and requires a nuanced understanding. For instance, in our study, we were surprised that adding measures of Violations of Probation as recidivist events to arrests did not markedly increase recidivism rates, which is contrary to the experience of other jurisdictions. This finding is forming the basis for discussions within our jurisdiction about the role of graduated sanctions within the overall criminal justice system. Our study found relatively high rates of recidivism by arrest and by conviction within three years of release which were on the order of those measured by national studies. However, a careful analysis of the recidivist offense types found that rates of recidivism based on offenses classified as serious (according to Maryland sentencing law) was one-third to one-fourth of the overall rate, which again provides useful information for policy development. Through our use of survival analysis and hazard modeling, we also tracked the timing of recidivist events, which would allow us to explore and determine whether programs might both reduce and delay recidivism. Despite the obvious value of the study to the County, and the possible influence of its findings on other agencies as well, the sheer effort it took and the accompanying time until results are known, mean that this type of careful research will be done sporadically, not routinely. And it is the routine, rapid feedback loop that is the cornerstone of the COMPSTAT and related innovations that have improved law enforcement performance in other arenas. Conclusion
The Pre-Release and Reentry Services (PRRS) Division of the Montgomery County Department of Correction and Rehabilitation is a work-release residential program that began in 1969 and has served over 16,000 individuals PRRS operates out of a 177-bed two-story residential community correctional facility that is located close to jobs and transit in Rockville Maryland that has been continuously accredited since 1983 by the American Correctional Association. It also oversees a home confinement program that allows carefully selected individuals - most of whom have first lived and participated successfully in the program at the Center - to complete their sentences in their pre-approved and pre-inspected homes under electronic monitoring. On a given day, the program serves approximately 180 individuals, which comprise almost 30% of the population sentenced to our local correctional system to a sentence of 18 months or less. The Pre-Release and Reentry Services (PRRS) Division provides residential and non-residential reentry services to convicted and sentenced individuals who are within 12 months of release and who have been incarcerated in the county's correctional system. Additionally, the Division is contracted by the Maryland State Division of Correction and the Federal Bureau of Prisons to serve prisoners in state and federal custody who are within six months of release and who are returning to Montgomery County and the Greater Washington Metropolitan area. The program carefully screens and accepts only those individuals that it assesses can be safely managed in a community setting regardless of offense type with one exception. While the program will accept sex offenders and individuals convicted of violent offenses including homicide, it excludes individuals convicted of prior escape. The Division advances the Department of Correction and Rehabilitation's mission to improve public safety and reduce victimization, and relies on a considerable body of research that demonstrates the cost-benefit advantages of releasing incarcerated individuals through a highly-structured community-based program. PRRS requires program participants to work, pay room and board, file state and federal taxes, and address restitution and child support obligations. Each client works with several staff members including a case manager to develop an individualized reentry plan that addresses their specific transitional needs including employment, housing, treatment, and medical services. Whenever possible, family members of clients are encouraged to participate in the development of the plan. Additionally, the program holds clients accountable for their location at all times, and clients only access the community with pre-approval. Through the use of the latest technologies in electronic monitoring, substance abuse testing, and by utilizing mobile teams of staff, clients are held to high standards of conduct and compliance. There is a zero- tolerance policy with regard to engaging in criminal activity, using drugs and alcohol, and accessing the community at locations and times that have not been approved. Individuals found in violation of such policies are immediately returned to secure detention. In a given year, the program serves over 700 clients and 85% successfully complete the program. In 2008, they earned collectively $1.9 million, paid over $332,000 in county, state, and federal taxes, paid over $300,000 in program fees, contributed almost $200,000 in child support, and over $10,000 in restitution. PRRS is but one of four operational divisions of the Montgomery County Department of Correction and Rehabilitation -- one pre-trial division, one central processing unit (CPU) jail, and one longer-term holding detention center -- which work in concert, to carry-out our forty year mission to efficiently and effectively use jail beds and community-based programs to maximize public safety and minimize societal costs. In all aspects of our operations, we are guided by best practices and evidenced-based research. Working with the courts, prosecutors, and the defense bar, the pre-trial division diverts over 2,300 individuals arrested from our jail back into the community before adjudication. They either remain on pre-trial supervision status during which they are closely monitored and drug tested, or they are sentenced to an alternative drug treatment and community services program that will expunge the offense from their criminal record if they successfully complete the program. In our main jail called the Montgomery County Correctional Facility, we fold library services, educational programs, drug treatment programs, job training, and case management partnerships with community providers into an overall reentry strategy for inmates who are within 90 days of release. Sixty-day ID passes are issued as temporary forms of identification and also serve to allow released individuals to ride the county buses and access the county library system. Additionally, the County's Department of Economic Development and the County's Workforce Investment Board opened up the nation's first One-Stop Career Center located within the secure perimeter of the correctional facility, and staff from the county's workforce agency has worked steadily to place soon-to-be released inmates into jobs. One of the chief characteristics and greatest strengths of our system is our community and interagency partnerships, and the DOCR has long recognized the vital necessity of reaching out and welcoming other government agencies from law enforcement to human services, to community provides, to faith-based organizations to help us deliver services and assess the risk and needs of our population. In our system, we find that our efforts to develop reentry services add significantly to the community well-being, the improvement of our clients, and well as assisting us with the operational basics of running safe, clean, and orderly correctional institutions for the benefit of our staff. More information about the Montgomery County (Maryland) Department of Correction and Rehabilitation are available on our website: www.montgomerycountymd.gov/cor .
Recidivism Rates for DOCR Sentenced Inmates Released 2003/2004 Figure 1 - Any Conviction Figure 2 - Serious Conviction |


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Home & Garden
Espresso Valet Stand
Suit yourself with a stylish yet elegant looking espresso valet stand. The valet is designed to keep your clothes well organized, wrinkle-free, and ready to wear. Your suit and trousers have a perfect hanging place. Belts or ties have on-the-go tie holders. 2 pairs of shoes fit on the chrome shoe bar. It includes accessory tray for wallets, spare change, watches and jewelry. The valet stand is a perfect gift for him!
Features:- Solid hardwood texture with an espresso finish
- Trouser hanger bar
- Jacket hanger
- 3 chrome shoe bars
- Tie and belt hanger
- Tray organizer
$69.994.0/5 (2) -
Home & Garden
Get ready for the holidays with holiday decor, or create an outdoor oasis with garden and patio furniture and fashions that are fun and functional.
Beer Classics - IPA (India Pale Ale) Glass
In collaboration with two of the leading IPA brewers in the United State, Sam Calagione of Dogfish Head and Ken Grossman of Sierra Nevada, Spiegelau has created the new standard for IPA beer glassware. Designed to showcase the complex and alluring aromatic profiles of American "hop forward" IPA beers, preserve a frothy head, enhance taste and mouthfeel, and present a comfortably wide opening for the drinker to savor each beer, Spiegelau's latest design is the go to vessel for enjoying IPA. Additionally, the breweries are donating their portion of the proceeds from this collaboration to benefit advances in hop research.
Sold in boxes of two.$19.904.3/5 (6) -
Home & Garden
Get ready for the holidays with holiday decor, or create an outdoor oasis with garden and patio furniture and fashions that are fun and functional.
Refresh Beer Stein
Old World Charm meets modern functionality with the Refresh beer stein. Inside each glass, there is a molded ridge turbine that refreshes and recharges the beer's foam cap when the stein is swirled, thus releasing more aroma.
The glass also features gently tapered walls to further capture and enhance these aromas, bringing fuller more expressive notes to your favorite beer.
Sold in boxes of one.$19.905.0/5 (1)