Psycho 1990
Marylouise Colleen
Psycho IV: The Beginning is a 1990 American made-for-television slasher film directed by Mick Garris, and starring Anthony Perkins, Henry Thomas, Olivia Hussey, Warren Frost, Donna Mitchell, and CCH Pounder. It serves as both the third sequel and a prequel to Alfred Hitchcock's Psycho, focusing on the early life of Norman Bates and the flashbacks that took place prior to the events of the original film. It is the fourth and final film in the original Psycho franchise, and Perkins' final appearance in the series before his death in 1992.
The film was written by Joseph Stefano, who also wrote the screenplay of the original film. The musical score was composed by Graeme Revell and the title theme music by Bernard Herrmann from the original film was used. Psycho IV: The Beginning premiered on Showtime on November 10, 1990 as part of a Psycho retrospective hosted by Janet Leigh.
A once-again rehabilitated Norman Bates is now married to a psychiatrist named Connie and is expecting a child. Norman secretly fears that the child will inherit his mental illness. One evening, he hears radio talk show host Fran Ambrose discussing the topic of matricide with her guest Dr. Richmond, Norman's former psychologist. Norman calls into the radio show, using the alias "Ed", to tell his story.
Norman's narrative is seen as a series of flashbacks set in the 1940s and 1950s, some slightly out of order. When Norman is six years old, his father dies, leaving him in the care of his mother, Norma. Over the years, Norma (who is implied to suffer from schizophrenia and borderline personality disorder) dominates her son, brutally beating him for even the smallest infraction, throwing him out in the rain when naked, teaching him that sex is sinful, dressing him up as a girl, and smearing lipstick on his face as punishment for getting an erection during incestuous foreplay (that Norma herself initiated). She forces him to urinate like a female by instructing him to squat over a pitcher. She also takes her frustration out on Norman when business at the motel fails due to the new interstate routing potential customers away from their location.
The two live in contented isolation until, in 1949, she becomes engaged to a brutish man named Chet Rudolph who openly bullies Norman; much to Norma's delight. Driven over the edge with jealousy and sick of Chet's constant abuse, Norman kills both of them by serving them poisoned iced tea. He disposes of Chet's body before stealing and preserving his mother's corpse. He develops a split personality in which he "becomes" his mother to suppress the guilt of murdering her; whenever this personality takes over, it drives him to dress in his mother's clothes, put on a wig, and talk to himself in her voice. As "Mother", he murders two local women who try to seduce him during their stay at the motel. After these and other killings, Norman awakens, convinced that "Mother" is responsible, and destroys the evidence.
In the present day, Dr. Richmond realizes "Ed" is Norman and tries to convince Ambrose to trace the calls. Richmond's worries are dismissed. Norman fears he will go insane and kill again. He tells Fran that Connie got pregnant against his wishes and that he does not want to create another "monster". He then tells Fran he realizes that his mother is dead, but plans to kill Connie "with my own hands, just like the first time".
Norman takes his wife to his mother's house with the thought of killing her and her unborn baby. Connie reminds Norman that it was his own choice to go insane and do the things he did, reassuring Norman that their child will not be a monster with their guidance. He realizes the truth to having freedom of choice, and he drops his knife. Finally, Norman impulsively sets fire to the house where all his unhappiness began. As he tries to escape the flames, he hallucinates that he sees his victims, his mother and eventually himself preserving her corpse. Norman barely flees the burning house alive.
Examining the ruins of the house the next day, Norman happily declares himself finally free of his mother. As he and Connie leave, the wooden cellar doors of the house close on a rocking chair that continues to rock, at which point "Mother" screams for Norman to release her before the screen cuts to black and the sound of a baby crying is heard.
Actress Olivia Hussey was directly offered the role of Mrs. Bates. It was the intention of writer Joseph Stefano to make her at a young age as attractive as Norman had been in the first film.[4] When Henry Thomas was cast as the young Norman Bates, Perkins wanted to meet with him and discuss the role. Thomas commented in the documentary The Psycho Legacy: "Looking back on it now, he knew he had to have this conversation with me but I don't think that he was really into it. He just gave me a few broad strokes and told me to play the character real, that was it".[5] During filming, Perkins was diagnosed with HIV and had to receive treatment during production. Director Mick Garris has stated in numerous interviews that he had some creative control issues with Perkins: "He would get into long, drawn-out discussions in front of the crew, testing his director, making sure choices were not made 'because it looks good' and seeing how deep the understanding of the story and process were. He could be very forceful, just shy of bullying, but also really appreciated helpful direction. I would have to say he was the most difficult and challenging actor I've ever worked with, but he ended up going on and on about how happy he was with the film. That was gratifying".[6]
Although Stefano did not immediately disclose his decision to ignore the two sequels (thus ignoring the character of Norman's aunt Emma Spool), horror fiction writer and critic Robert Price has noted that "Psycho IV seems to be intended as a direct sequel to the original Psycho, with no reference to Psycho II or III. Norman may have been healed and released from his first confinement, not from the confinement that takes place at the end of Psycho III".[11] Horror writer James Futch regards this as a defect, complaining that the film "ignores much of the Psycho mythology".[12]
Psycho IV: The Beginning was released on VHS and Laserdisc by MCA/Universal Home Video in 1991. It was later re-issued on VHS by GoodTimes Home Video, under license from Universal Studios Home Video in 1998.
The film was released on DVD in Region 1 as part of a triple feature package with Psycho II and Psycho III on August 14, 2007 by Universal Studios Home Entertainment.[13] Universal has also released some four-title Region 2 packages that include the 1960 original.[14][15] A single-disc Region 2 version of Psycho IV (titled Psychose: L'origine) was released in France in 2007 by Aventi Distribution.[16]
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The purpose of this review is to examine nursing research on blood pressure (BP) from 1980 to 1990 from a bio-psycho-social perspective. Nursing research articles (N = 50) from three journals were reviewed. The inclusion of subject descriptions, environmental factors, dynamic and interpersonal aspects were tabulated. This review provides a basis for designing nursing research on BP with a broader perspective.
While making a career for himself as an actor who specializes in playing psychos, Anthony Perkins has made another career for himself talking about the psychos he's played, notably but not exclusively, in "Psycho," "Psycho II," and "Psycho III. "
It's no surprise, then, that his return to the Bates Motel, for "Psycho IV" on Showtime, has brought Perkins to Manhattan's elegant Plaza for yet another round of, well, Psycho-babble. Print journalists, TV journalists . . . just mention that Perkins is taking his butcher knife out of mothballs and media types make a beeline for his door.
"Would you like some coffee? " the actor offers up front, in that familiar, semi-psychotic voice. "Ivana brought it up herself. " (It's a joke, of course, although the estranged Mrs. Trump did send a note welcoming him to the hotel.)
Once the coffee's been poured, the conversation eases into Perkins most memorable alter ego: the strange young man whose best friend is his mother or at least what's left of her. It's a subject he should be tired of talking about by now, but he isn't, at least not yet.
"You know, I went on a second world tour for `Psycho III, " he says. "It took three months, and just as we were starting out, before the plane even took off, I said to the person who was traveling with me, `Promise me something: The minute this starts looking like I'm sick of it, bored with it, phoning it in, not interested in the subject, not interested in articulating my feelings about it, tell me, and we're gone. Because it is an insult to the thought of being interviewed, to the presence o f the interviewer, to the activity of thumping a product, to Hitchcock, to `Psycho, to the whole thing . . .
"Everybody knows everything now about every movie ever made," Perkins replies. "And if they haven't seen a movie, they can go to a video store and rent it. Everybody knows everything about `Psycho. They've seen all the `Psycho featurettes. They've read all the books. They've seen all the TV commentary. They've studied it in film school. They've studied it in high school, as part of the communication arts, or whatever they teach in high school now. So it's heavily with us. Still. "
Even Perkins has studied the original film, although, he says, "I don't think I saw it from the time it first came out until I started the preparation for `Psycho III, which I directed. So that was about what? 25 years? I don't have any of my films. I don't have any cassettes. I don't have any 16 millimeters. I don't have anything. "
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