ALFRED HITCHCOCK AND THE UNCONSCIOUS MIND

Horror films are not my thing. Actually I'm not at all a fan of the head spinning, eyes turned inward, gorey, Gothic film category but Alfred Hitchcock's thriller Psycho has managed to captivate even a squirmy movie goer like me. His bold, risk taking film, which helped to revise the movie codes of his time, can be said to be the template for many horror films which followed. 

                                                  

 PSYCHO

Starring Anthony Perkins, Janet Leigh and Vera Miles.

In the 1960 thriller Psycho, director Alfred Hitchcock examines the different dimensions of the human psyche. The film’s central plot develops at the Bates Motel 15 miles off Fairvale, California where a young secretary Marion Crane (Janet Leigh) takes shelter from a rain storm, after having stolen $40, 000 from her employer’s client. Following on psychoanalytical theories developed by Austrian Physician Sigmund Freud (1856-1939), Hitchcock shakes up the perception of the quiet small town and leaves his audience with a disquieted sense of what really goes on behind closed doors. Although reportedly highly skeptical of its restorative claims, Hitchcock’s directorial approach in Psycho concentrates on Freud’s study of psychotherapy.

Considered the most Freudian of all Hitchcock’s films, Psycho opens with a show of the theory that the unconscious is the place where unsatisfied desires are stored. It begins with a shot of a slightly opened curtain-less window of a hotel room in Phoenix, Arizona. Hitchcock directly hinting to the nature of the unconscious mind uses this essentially intrusive view to foreshadow his theme. Inside the hotel room securely hidden from the outside world, a man and a woman are getting dressed after a sexual encounter. Behind these closed doors is where they are both concealed from existing social taboos regarding pre- marital sex. Also in this room barely visible to the eye, is where the young woman Marion Crane elusively fulfills her longings to be with Sam as his wife.

Hitchcock later expounds upon Freud’s concept of the unconscious when the audience is introduced to Norman Bates. Seemingly mild mannered at first Norman is soon exposed as being unable to control the desires of his id. The director similarly treats with Norman’s unconscious in the way he does Marion’s; symbolizing both their surroundings as the containment of hidden wishes. Much like his true desires are buried within his unconscious mind, the Bates Motel, as noted by detective Arbogast which “looks like it’s hiding from the world”; acts as a covering for Norman’s secret crimes.

As seen in the film some memories and desires are repressed by unconscious forces due to their painful or unacceptable nature. Freud theorizes that the blocking of these memories or desires may not be harmful to the individual but is rather the mind’s way of guarding against unpleasant effects. Marion Crane, the first character of Psycho to be subjected to this idea of repression as she deals with the guilt of her crime, suffers its symptoms. 

Her subsequent anxious behaviour after being confronted by the police officer on her way to Fairvale is indicative of the memory of her actions searching for a release or as Freud terms it a ‘return of the repressed’. Furthermore her attempts to avoid detection by trading in her car for another betray her guilt and she raises additional suspicion when she is about to drive out of the used car lot forgetting her coat and luggage.

In Norman’s case the theme of repression is explored to a greater extent. For instance, the psychoanalyst points out in the end in order to understand Norman’s situation: “you have to go back ten years to the time when Norman murdered his mother and her lover”. The severity of his actions triggers an already disturbed Norman “to erase the crime, at least in his own mind” in order to continue living. In trying to block this memory Norman is accordingly subjected to its constant resurgence, only this time in different forms. Thus, his words and way of conduct inform the audience that there is something else which lies beneath his supposedly calm demeanor. In conversation with Marion whatever he is trying to repress effects slips in his speech and he has trouble pronouncing the word ‘falsity’. 

Another illustration of the return of Norman’s repressed thoughts occurs when he is being questioned by detective Arbogast. He becomes more and more uncomfortable with Arbogast’s line of questioning, manages to lose track of what he is trying to say and eventually fumbles through a fragmented account concerning Marion’s disappearance.

Moreover, the concept of the return of the repressed is ideally symbolized by Norman himself disguised in his mother’s dress; a physical manifestation of the repressed (his mother) coming to the surface. Then in the final scene the director also leaves the audience with its own reminder when Marion’s buried car is excavated from its muddy grave; as if to note that what is hidden will eventually come to light.

Psychoanalysis holds the position that the ego acts as the mediator between the other two facets of the human psyche; giving precedence to logical thinking and discernment. It also follows on the belief that if there is conflict between the super ego and id, and the ego is hindered from exercising its responsibilities; the result would be a breakdown in the functioning of the human mind, sending the ego into defense mode. This idea is achieved in the film through the bad judgments of both Marion Crane and Norman Bates. Similarly succumbing to the desires of the id these two are compelled to commit reprehensible crimes. Knowing that what she did offends social codes of conduct Marion’s ego is thrown into defensive action. In continuing with her plans to run away to Fairvale, imply that Marion believes that she is somehow justified in what she is doing. She then tries to eradicate anything which connects to her life in Arizona by trading in her car for another; which she probably reasons will allow her to escape without being followed.

Norman on the other hand encapsulates the deeply conflicted ego which consequentially deploys various coping mechanisms. After murdering his mother, he loses all sense of self and completely outfitted in his mother’s clothes, he deals with his wrongdoing by assuming the identity of his victim. Also noticeable in his behaviour are acts of regression whereby he assimilates a child- like deportment when scolded by his ‘mother’ for his attraction to Marion and in a boyish way he confesses to Marion that she (his mother) only allows him to do certain chores which she deems he “might be capable of doing.” Norman also manages his internal conflicts by trying to project an air of normalcy, continuing with his daily routine; dutifully changing bed linens, as he calls it “following the formalities”, of a motel which remains invariably uninhabited, and filling his time with his hobby; taxidermy.

Also evidenced in the film is the role of the super ego which regulates the mind according to socially and culturally accepted rules. This idea is clearly represented in the scene where Marion makes her way to Fairvale with the stolen cash. Hitchcock symbolizes her prodding conscience in the form of the policeman, a recognized figure of justice and authority, who constantly watches her every move. In contrast, in Norman’s world there are no reflections of the super ego at work as he has already suppressed the will to conform to societal norms. When these two are placed before each other, Marion senses in Norman’s deportment what she could become and allows the super ego to work for her, although in the end is unfortunately robbed of the opportunity for redemption.

Perhaps the most significant illustration of psychoanalytical considerations stems from Hitchcock’s use of the Oedipal Complex as a prime explanation for his main character’s behaviour. In this case Norman’s repressed guilt is manifested in an oedipal complex. His unnatural attachment to his mother even posthumously, is exhibitive of his lack of sexual development and identity. Again as explained by the psychiatrist both the death of Norman’s father when he was a young boy and eventually living alone with his “clinging, demanding” mother, causes him to become “dangerously disturbed”. Never having to fight for her affections before Norman is unable to quell his unconscious desires towards his mother and thus get past the phallic stage of his development. When she becomes involves with another man Norman’s mind is not able to accept this idea and out of jealousy he kills both his mother and her lover. Having had no father figure to identify with, Norman develops an exaggerated reverence for his mother and becomes dependent on her for his very survival. Even though she had been dead for ten years, he recreates her being in his mind and brings her to life by becoming her. Still operating from this phase in his adult life, he also seems to be unaware of the strangeness of his affections for his mother as he says to Marion “A boy's best friend is his mother" and "A son is a poor substitute for a lover."

Psycho is hailed today as the harbinger of the horror movie genre. Alfred Hitchcock really pushed the envelope in Psycho, making it one of the greatest, if not the greatest horror film of all time.