Psycho: Then and Now.
In 1960’s Hitchcock breaks the genre and changes audience’s perception of horror once and forever, by adding psychological thrill to it. Its remake came out in 1998, filmed by Gus Van Sant, was very different from the original masterpiece. In fact, it was a very dangerous idea, but not merely an attempt to make a shot-for-shot remake. As we know, the whole industry of filmmaking had changed a few times in 38 years.
Few differences that really do catch the eye: differences in camera perspective, lightning, angles (the placement of the camera changes the film, even in a "shot for shot" remake), detail manipulation (sometimes the smallest details, and alterations of those details in scenes give an insight into a director's intent), character alteration (Norman Bates is presented in two very distinct ways between both versions of the story), plot hole closure (Van Sant tries to explicitly close some of the minor errors in Hitchcock's film), shifts of overall tone (the inclusion of a montage changes the tone of the films). Hitchcock also is a genius of shadow play, and of course, black and white movie only increased his potential. In a recent remake this visual grotesqueness disappears. It’s not only visually aesthetical notion, rather, it created atmosphere that supported the plot and its development. Remake lacks the atmosphere that was crucial to 1960’s film, it was simply made without much of the artistic touch, the dull tones of black and greys add to the mysterious tension throughout the movie and keep the audience on their feet. In addition, the black and white images also work especially well with the high and low pitched of the all string soundtrack, adding a dark and unstable element to the movie which creates a dangerous and confusing atmosphere which keeps the audience watching.
Sant’s budget was approximately 74 350 times bigger than original, but barely made a half of Hitchcock’s gross income. There are also two significant additions in Van Sant’s version, which reflect our contemporary comfort with onscreen sexuality. These include an additional, extended shot of Norman Bates after the point-of-view shot through the wall-hole, during which he can be heard masturbating, and another of Sam naked (followed by a reverse shot of Marion looking approvingly in its direction). In 1998 version asters choice is quite questionable. Old film’s performance was great and starred great actors of the time period, but in Sant’s version quality of acting and choice of actors doesn’t appear to audience as much as original.
