In the infamous shower scene, Marion Crane (Janet Leigh) does not see the female figure approaching her from behind-the audience “plays God”-and thus the spectator, although far more aware than Marion, is tricked by the figures shadow.
Shadows help conceal Norman’s psychological disorder throughout the film, creating a believable illusion of the mother for the spectator. Most importantly, the shadows created by this style of lighting provide gloomy details of the surroundings in which we find ourselves, especially in the Bates Motel and Norman’s house.
He does, however, utilize his knowledge of storytelling, camera point of view, and psychoanalytic perspective to create an environment for us to believe in. Hard key lighting tends to be popular amongst a plethora of horror and suspense films, and Hitchcock is no different. Hitchcock’s stylistic lighting easily takes us from a complicated romance beginning into a dark, thrilling conclusion. With one re-make and several parodies-including scenes from That 70’s Show and Family Guy-Psycho has already proved its effect on both the film industry and all of entertainment. This film is one of the most memorable thrillers of all time. Hitchcock’s Psycho (1960) combines both suspense and surprise masterfully with the use of aesthetics-that is, his choice of lighting, cinematography, and set design. However, when there is no doubt, surprise can become an equally entertaining substitute. In order to build incredible suspense, there must be a shred of doubt.
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