🎦 Psycho full movie HD download (Alfred Hitchcock) - Thriller, Mystery, Horror. 🎬
Psycho
Year:
1960
Country:
USA
Genre:
Thriller, Mystery, Horror
IMDB rating:
8.6
Director:
Alfred Hitchcock
Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Martin Balsam as Milton Arbogast
John McIntire as Deputy Sheriff Al Chambers
Simon Oakland as Dr. Fred Richmond
Vaughn Taylor as George Lowery
Frank Albertson as Tom Cassidy
Lurene Tuttle as Mrs. Chambers
Patricia Hitchcock as Caroline
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Storyline: Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.
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Reviews
The Greatest Horror Film Ever
When you look up the phrase "Horror Film" in the dictionary .. a picture of Janet Leigh screaming in a shower should appear next to it. Undoubtedly, Psycho is the greatest horror film ever made, bar-none. The story is incredible. The acting is near perfection. The cinematography is godly. The soundtrack is perfect. It's hard to find anything wrong with Psycho. Perhaps the only imperfection I can find with Psycho is the inability to stand the test of time. One of the reasons the shower scene has become so notorious is that it's not only filmed to perfection, but because the elements of sexuality and murder are so surreal. In 1960, seeing a nude women being murdered in a shower was something that no-one had experienced yet, and was quite shocking. Nowadays, seeing Jason double-spearing two lovers having sex is nothing uncommon. I envy those who experienced Psycho in 1960 in the theaters .. those experienced the full terror of Psycho.

Aside from this though, the movie is flawless. I won't even go into to how incredible the cinematography is. One thing I think people seem to forget about the movie is the incredible soundtrack. Sound is such an important element in movies and Psycho is undaunted when it comes to sound. The only other horror movie that even comes close to using sound with such perfection is Halloween (1978).

The movie is perfectly casted as well. Janet Leigh as the beautiful Marion Crane, Vera Miles as the concerned sister, Lila Crane, and of course the unforgettable performance from Anthony Perkins as the eerie yet charismatic Norman Bates.

I would recommend this movie to any horror movie film fanatic. I would especially recommend this movie to any horror movie fan not desensitized by Friday The 13th, Nightmare On Elm Street, or Scream .. if such a fan exists.
1999-01-17
Cleaning Up After Mom
During the Mid Eighties I attended a science fiction convention in Manhattan and the feature attraction there was Anthony Perkins. There was Mr. Perkins, the celebrated Norman Bates of Alfred Hitchcock's Psycho among all the Trekkies and Doctor Who fans, etc. I think he looked on it as an opportunity to promote the succeeding Psycho films.

Tony Perkins was clearly ill at ease among the Sci-Fi crowd. People like the Star Trek cast members know what to expect at these gatherings and act accordingly. Perkins did not really know how to handle the banter, he was in my estimation a serious guy who must have thought he was in a freak show. I asked him about appearing in Friendly Persuasion with Gary Cooper and I told him that that was my favorite role he did. He looked grateful that someone knew he did something besides Norman Bates.

But for better or worse, Norman Bates became his career role and it's what we remember Anthony Perkins for. He does create an indelible impression on the screen with Alfred Hitchcock's direction as the shy mother fixated man running a flea bag motel in an area where a new super highway has taken all the potential business.

Psycho has a simple plot. Janet Leigh on an impulse embezzles $40,000 in cash from her employer and goes on the run. She winds up in the Bates motel run by Norman and his mother. Later on private detective Martin Balsam goes after her as well. And finally John Gavin as Leigh's boy friend and Vera Miles as her sister go looking for the both of them.

Simple enough, but Alfred Hitchcock creates a mood of terror and suspense that lingers long after you've seen the film. My favorite shot of the film is not Leigh's legendary shower stabbing, but of Martin Balsam being knocked down and falling down that flight of stairs and then being stabbed to death. The camera work showing Balsam falling backwards is the most terrifying part of Psycho.

Though Anthony Perkins did so many other good things, the average cinema fan will tell you 99 out of 100 times that Norman Bates is the role he remembers Perkins for. So Perkins went with the flow.

It was repetitious for him, but a treat for fans.
2006-10-18
Into the Abyss with the Master
SPOILERS AHEAD;

First the photography exceeding even the best film noir Laura with the most stunning use of shadows even see in a film. Show me a scene like Norman at the swamp shadow covering half of his face in total darkness showing visually exactly what he was half man half monster. This is replicated at the end with the camera on the floor shooting upwards in the chilling "She wouldn't hurt a fly." How to terrify without exploding bodies gushing blood splattering all over if only young filmmakers would study Hitch more what better American films we would have today. The God's eye camera when Aborgast ascends the stairs we see the door open and norman's mother raises the knife high and stabs down we descend the stairs with him. Inside of him see how many examples of that you can find. Even when Marion wakes up in the car on the side of the road, the face of the sinister cop causes even her nascent conscience to terrify her. Look how Hitch shoots the cop so he fills the whole screen with sunglasses the face of God perfect work!!!

Hitch always has fate destroy the evil characters in SHADOW OF A DOUBT uncle charlie loses his balance and falls in front of the train; here Marion while smirking in evil satisfaction how she duped everyone at the real estate office a single raindrop falls wiping her glee off of her face. This begins the concatenation of events that drives her off of the highway to the Bates Motel and her dying stabbed to death in the shower. The wonderful overlooked scene where she begins to lead norman into her room, norman starts to step forward but something makes him retreat to the office and marion looks at him both alarmed and quizzically; she has not been rejected often we see a cloud of worry cross her face.

Perkins gives such a great performance; when marion suggests mom should be put away the volcanic and terrifying eruption of hate so sudden and without warning. People always mean well they cluck their thick tongues and suggest ever so subtly, marion almost leaves here she can see a glimpse of what is inside. What makes the picture work is his performance he gives such believability to the deeply disturbed norman. Marion is by no means a sympathetic character within the mores of the late 50s a woman having an affair with a married man was considered scandalous. Like De Palma's Blow Out with the angel of death towering over nancy allen, hitch like De Palma his disciple, the evil are punished. A sense of impending doom accompanies her as she scurries about changing cars even seeing her boss in the crosswalk. Viewers share her sense of dreadful destiny one step behind her. Yet the single smirk as she laughs at her cleverness is swiftly answered by Hitch with her doom.

The film is with SHADOW OF A DOUBT Hitch's two best films. Even gore sated ADD modern audiences should enjoy it for its wonderful creepiness. Norman is so odd so bizarre his presence on screen is never boring. I consider the use of shadows on norman's face and the interiors to be textbook exceeding the best of the film noir genre OUT OF THE PAST comes close but still hitch knows photography combined with unique camera angles all film students should study this film
2015-04-29
Still Remarkable To This Day
What a fantastic movie! A visual stunner with great camera work, superb acting, a wonderful script, and one of the greatest scores of all time. The term "masterpiece" gets thrown around a lot today but in this instance the glove fits. Hitchcock pulled out all the stops for this one and made a horror movie that can still frighten an audience today. Anthony Perkins' performance is fascinatingly perfect as Norman Bates. The duality of his role must have been difficult to act with but he pulls it off beautifully.

The one qualm I have is a common one. The exposition scene towards the end where the psychologist practically spells out the movie for you as if the audience are idiots who haven't been paying attention at all. I guess at the time psychological thrillers were far less common and the 1960's audience needed an explanation as to why Norman would dress up like his mother, but today this scene sticks out like a sore thumb. Despite this, I still give this movie a 10/10 for an (almost) perfect hour and a half of cinema.
2017-04-30
Psycho changed everything
You would have to say that Psycho was the start of something new. Alfred Hitchcock was at the height of his powers before he made it and it was only because of his standing that it was made at all. The studio was appalled by the idea of the film and released it very grudgingly and with the minimal of assistance. Hitchcock had to use much of his own personal wealth to fund it and released it in black and white, with a far lower budget than he was used to. Despite all this, when Psycho was released it changed everything.

Released in 1960, it heralded the arrival of the 60's in more ways than simply date. It's extremely daring content was an early marker that indicated the coming changes in cinema. Sometimes people think that Hollywood truly changed in the late 60's with the release of Bonnie and Clyde. While it's impossible to argue against that film's influence, it can easily be argued that Psycho was even more ground-breaking and a full seven years older. Taking into account the cinema landscape of the time it was released, it's quite a wild uncompromising concoction that Hitchcock brought to the screen.

There are several boundaries it pushed against. It opens with a scene of an unmarried couple – the woman partially undressed - in a hotel room just after sex. This was taboo at the time. Furthermore, the girl is introduced as the nominal heroine, even having her character's name displayed on the film poster. Yet she is brutally murdered less than half-way in. The disorientating nature of this is almost as shocking as the act of violence itself. Cinema audiences are just not prepared for a main character being disposed of like this. It throws us, confuses us and makes us realise we have no idea what is going to happen next. It's an utterly audacious move to do this and, incredibly, one that really has hardly been used since in the intervening fifty plus years. Hollywood still seems reticent in killing off its A-Listers in this way but Hitchcock was unafraid in subverting this 'rule' and the impact of Psycho is profoundly more effective as a result. Then there is the violence. The expertly filmed shower scene remains one of the ultimate shock moments in cinema and with some justification. For its time, it's incredibly brutal and it's here that Psycho pushed boundaries in the most direct and obvious way. In fact, Hitchcock partially decided on black and white, as he knew this scene would never get past the censors in colour. Now people died with their eyes open. Marion Crane stares at us dead on in a way that allows us little respite. And finally, there is the open depiction of sexually deviant behaviour. Normal Bates disturbing secret life is very psychologically dark, yet he is presented quite sympathetically. The direct presentation of these dark impulses was again quite unfamiliar to audiences of the time.

The story has Marion Crane (Janet Leigh), a secretary from Phoenix, Arizona, stealing $40,000 from her employer's client. After a couple of days on the run she ends up at a motel run by a nervous young man called Norman Bates (Anthony Perkins). The structure of the narrative initially suggests that this will be a crime story of a woman on the run with a bag of money. But we have been cleverly misdirected and the seemingly standard thriller suddenly and jarringly changes into something altogether more sinister. Really, Psycho was a watershed movie in that it brought the horror genre into a recognisably real world. Beforehand, the genre always had the distance of either the supernatural or science fiction. Psycho stripped away this protective layer and in doing so made the horror more real and more terrifying. Amazingly, it has retained the palpable tension even today. This has ensured that it still feels quite modern and hasn't really aged at all. But it would be misguided to not acknowledge the black humour that is interspersed throughout and that only becomes apparent on re-watches. This is a result of a clever script but also excellent performances. The real stand-out dramatic scene being the late night supper between Crane and Bates, where there is such an uneasy and strange chemistry. Leigh and Perkins make this work so well; the latter is particularly brilliant in this film. So good it would unfortunately type-cast him forever.

There are other collaborators too who need to be acknowledged too. Firstly, there is Saul Bass who is the legendary credit sequence guy. His work here is pretty simple and straightforward but striking nevertheless. And then there is, of course, Bernard Herrman whose score is one of the greatest in cinema history. Everyone knows the famous screeching that accompanies the murders – rightfully so because it's genius – but the melodic main theme is quite beautiful and truly evocative. But in the final analysis the bulk of the praise has to go to Alfred Hitchcock, as this incredibly provocative work of cinema art would never have been made without him and I think it stands as his greatest achievement.
2014-03-28
The Greatest Movie of All Time!


I viewed this movie at the age of 9 years old. It has been my favorite movie ever since. Almost 20 years. The two movies that affected me most as a child were: "The Amityville Horror" (I've had more dreams about that house than any other thing..ever!) and "Psycho". After watching "Psycho", I never viewed ANYTHING as being 100% safe. No castles, no zombies, no monsters. Normal people in risky situations exposed before all. Everyone has skeletons in their closets. Even those who seem to be as harmless as a fly. (Such as Norman Bates). This movie not only changed the course of movie history, by killing off the apparent heroine 1/3 of the way through the film (making history) but, proved that their was absolutely NOWHERE to be totally safe. It revealed inner demons of the two main characters which reflect on the entire world and maybe the truest description of how the world really is. Deep down we all have these bad thoughts, but unlike Norman Bates, most of us can bottle them up inside and carry them to the grave.After all, "we all go a little mad...sometimes".
1998-11-26
A mind is a terrible thing to lose
The psychological threads of the film are so complex as to be nearly inexhaustible; this feature alone contributes to its place in film history as one of the great celluloid efforts of all time. Like any genuine work of true genius, it may be enjoyed on more than one level. Alfred Hitchcock forced film-goers to confront head-on just a few of the shadowy corners of the human psyche: the Oedipus/Elektra complexes, jealousy about sexual [or perceived sexual] rights, guilt, and self-hatred [as in Norman's cross-dresssing], to cite just a few examples of neurotic behavior. Perhaps the most frightening interpretation of the film is that one is responsible for one's actions and cannot, ever, alter the designated course a particular act has set in motion. Here, it is Marion Crane's decision to steal the $40 grand from her employer in order to race to Fairvale to be with her [illicit] lover, Sam Loomis. The opening vista, a bleak mountain and desert landscape over Phoenix [note the metaphor for both the geographical location and the town's name], is replete with the futility of the lovers ever forging a permanent bond with one another. The film is a terrific essay of human desperation and its stray threads: the hunger for sex, for a safe haven, for an ascendant place in one's tiny universe. The barrenness of the emotional landscape is shiveringly mirrored in Bernard Herrmann's shrill, spiky score, which speaks of the desolation of all humankind. Both murders are violent acts of mutilation and hatred, one thinks, not only for the victims, but also for the perpetrator. Fittingly, the killer's "cleansing" ritual takes place in a swamp, the normal repository for all kinds of secrets and unclean, dangerous organisms lurking beneath the stagnant surface. Finally, I found most interesting the title on the record label on the turntable in Norman's room: Beethoven's Eroica Symphony [No. 3]. This majestic, noble work bears no resemblance to the music one would justly associate with the tormented mind of young Bates. One can only guess that the boy's impressionable mind was at one time quite normal and receptive to elevated experiences such as a hearing of this great work of Beethoven's, but that jealousy, perhaps having been spurred by an intimacy with his mother, drove the boy to madness. Guilt, one of the human being's great purgatives, finds no outlet here, as we see in Norman's feral smile at the film's end. Hitchcock's use of mirrors works wonderful psychological tricks upon us, forcing us to wonder if what we see in our real and fancied mirrors, is real.
1998-10-22
Truly the original horror movie of all times .
Psycho , Alfred Hitchcock's classic about a guy and his mother is the movie that is at the origin of all horror movies ever made . It is truly an experience to live !!!!!!!!!!!!

The music has a great part in this movie .

Anthony Perkins is the ultimate psychopath ever !!! He and his "mother " are the best killer duo ever produced.

The new version is good but not quite as great as the original.

Still I urge all movie lovers to see it , whether it's the original or the new version , GO SEE THIS ULTIMATE EXPERIENCE!!!
1998-12-13
Legendary, in both a good and a bad way
Not much to be said about this that hasn't been said before. Only the second Hitchcock film I've ever seen, and so far there isn't a single positive thing that's been said about him that I can disagree with. Calling someone 'The Master' is terminology that I would usually frown upon as being too dismissive of other greatly talented people, but after witnessing the directing, the cinematography, the subtle performances, the inimitable atmosphere and the quiet genius of this masterpiece, I find myself forced to agree. The notorious shower scene manages to be shocking, brutal and understated all at once, and its infamy on the pages of motion picture history is well-deserved. Anthony Perkins is subtly explosive, like a match waiting to be struck. He plays Bates with a boyish, grinning charm that generally belies his chilling insanity. Also worthy of mention is Bernard Herrmann's incredible score, possibly one of the best I've ever heard.

In a curious way, the one thing I find disagreeable about this movie is, indeed, its legend. I cannot imagine how much I would have enjoyed it had I not known any of the plot twists beforehand, and could have gone into it unknowingly. Still, perhaps somewhat paradoxically, the legend is completely due, because this film's merit becomes obvious when you consider that first-time viewers of my generation (I'm 21 years old), who have become inundated with the blood, gore and overblown special effects of today's blockbusters, can still find its subtle ingenuity chilling and scary in equal measure. Beautiful. 10/10
2000-11-27
The Classic Mystery!
Psycho is definitely the best Hitchcock movie, and the best mystery movie of all time. Maybe it's not a really scary movie, but it is great and dramatic. It kept me guessing until the end. The end scene had to be the scariest, much better than the infamous shower scene. Anthony Perkins is brilliant, along with some other cast members. It makes you think long after the movie. I would give it *** out of four or a B+.
1999-07-28
📹 Psycho full movie HD download 1960 - Anthony Perkins, Vera Miles, John Gavin, Martin Balsam, John McIntire, Simon Oakland, Vaughn Taylor, Frank Albertson, Lurene Tuttle, Patricia Hitchcock, John Anderson, Mort Mills, Janet Leigh - USA. 📀
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