'Psycho' Film Still Analysis 2

This scene shows the final part of Marion’s journey, driving to the destination in her newly acquired car. Firstly, one of the most notable aspects of this scene is the way in which it almost breaks the fourth-wall rule. Marion doesn’t fully address the audience but stares directly into the camera (just as Norman / Mother does at the end) as she reveals her true emotions through facial expressions. Add to this a parallel music score of violins and the scene instantly takes on Hitchcock’s trademark suspense-filled auteur style.

The real disconcerting feeling of this scene comes from the voyeuristic camera shot where the audience is made to stare into the eyes of Marion for a prolonged time. Not only this, we also see into her thoughts, reflecting on Hitchcock’s fascination with the Blonde beauties of his films.

Throughout this scene Marion is battling with a dialogue (presented as a voiceover) in which she imagines the possible outcomes of her crime and what people will say when they realise what she did. This internal conflict is accompanied by the use of long takes and very few edits to add to the drama of the moment. Towards the end of the scene it begins to rain, obstructing the view through the window and causing partial restricted narration. It is also an example of pathetic fallacy as the gloominess and torrential downpour forces her to stop at Bates Motel, sealing her fate.