Left-Right Character Analysis of Norman Bates in Alfred Hitchcock's "Psycho"

Alfred Hitchcock’s Psycho introduces the richly complex character of Norman Bates, and proceeds to show many parts of his divided personality. He is a man who attempts to break free of his demons and live a normal life, but he cannot and regresses to psychotic behavior. As a result, his screen direction changes sides according to his personality. 

When Norman Bates stands at the left edge of the frame and looks right, he is well-adjusted and living as a normal member of society. When he stands right and looks left, he is sliding back to a dysfunctional character from his sinful past. What makes Psycho such a fascinating movie, however, is that Hitchcock has added a third element: when Norman stands front and center and looks straight ahead. This is where Norman is caught in the middle of rationality and reason; an emotional purgatory that also implicates the audience as an unwilling voyeur to his struggles, crimes, and ultimate hell.

A close study of the film reveals twelve key moments when Norman illustrates a left, right, or center position that corresponds to a facet of his personality. Each of these examples showcases Hitchcock’s masterful control of the film’s visual structure, while subtly influencing the audience’s perception. This is a highly illuminating technique that shows the subliminal power of the motion picture frame.

“Gee, I’m sorry I didn’t hear you in all this rain.” - 00:28:15

Norman is introduced walking from left to right. He appears perfectly normal, and the audience believes he is a good guy. Since Marion Crane is the movie’s protagonist, Norman helping her in the rain is perceived as a positive action. He is kind, polite, and even self-sacrificing as he gives Marion his umbrella (again from left to right).

“Mother isn’t quite herself today.” - 00:33:55

Norman’s next action is also from left to right. It is again a positive action, helping the protagonist as he brings her dinner. It is a thoughtful gesture, and he comes across as a friend. He even makes light of his mother, attempting humor and social graces.

“We all go a little mad sometimes.” - 00:42:25

At this point Hitchcock reveals Norman’s dark side. As they sit inside the parlor, Norman sits on the right edge of frame and looks left. He is also framed in the eerie position surrounded by the stuffed birds. The conversation turns deep, and Norman’s tone visibly shifts after Marion mentions a mental institution. This pivotal scene not only reveals Norman’s psychology, but it also serves as Marion’s turning point as she decides to return to Phoenix with her stolen money.

Behind the painting. - 00:44:40 

This is the most perplexing action in the film. Norman stands left and looks right, but is not behaving properly. Or is he? This can be perceived either way. A first-time viewer might think he is simply spying on her. But a knowledgeable viewer will know that Norman is the killer, and thus planning his attack. Or is he? Again, Norman may just be Norman and totally in control at this point. Not the murderous “mother” at this exact moment.

Murder #1: Shower Scene - 00:47:37 

The first murder takes place front and center. Again, a first-time viewer will not know this is Norman. Yet the informed viewer can see that his placement in the center of the frame represents the middle void where Norman is sadly trapped. He is revealed here as a murderous monster, unable to control his psychotic instincts. Norman surprises everyone. . . even the viewer.

“Oh God, Mother! Blood!” - 00:50:15

In the aftermath of the murder, Norman remains centered. This is the first time Norman as Norman is seen in the center, linking him visually with the recent murder. He is neither heroic or evil, but the audience witnesses him clean up the mess and cover up the murder, so therefore knows that Norman is not the gentle hero as he first appeared.

Sinks the car, eats the candy. - 00:59:20 

For the next scene, Norman continues to occupy the center of the frame. He completes the criminal act of hiding the evidence and at various points looks directly at the audience. This extends the audience’s uncertainty as well as implicates the viewer in the crime. Yet at the same time, the audience empathizes with Norman when he feels relief as the car completely sinks.

 “She might’ve fooled me, but she didn’t fool mother.” - 01:11:19 

As Norman is questioned by Private Investigator Arbogast, he stands right and looks left. The scene becomes contentious and Norman is forced to lie. He stutters, sweats, and ultimately loses his composure. Arbogast figures it out, right before Norman throws him out.

Murder #2: Staircase Scene - 01:17:18 

Again, the first time viewer will perceive this differently, as the murderer’s identity is still unknown.  Unlike the shots of Norman in the center, he now enters from right to left, clearly regressing to past behavior. No ambiguity in this scene, as it is a clear brutal attack.

“Check in any other place in this country without bags and you have to pay in advance.” - 01:30:00 

As the investigation into Marion’s disappearance grows closer, Norman is increasingly defensive. The audience knows Norman is now lying. He stands right and looks left, as he represents negative behavior. He is distrustful and not willing to help. Even worse, Norman may be plotting to murder the couple.

Norman as Mother - 01:41:15 

Surprise! Norman attacks front and center. At the movie’s climax, the audience finally sees that Norman is both his mother and the killer. Again, he’s neither on left or right, but moving toward the viewer. If the left side is Norman looking forward, and the right side is Norman regressing backwards, then center position is stuck in a psychotic limbo. This scene highlights Norman’s split personality; the ultimate mother-son fusion of the psyche.

“She wouldn’t even harm a fly.” - 01:47:25 

In the film’s closing moment, Norman sits in police custody, isolated in a solitary cell. The audience hears his rambling thoughts as his psychosis takes over his rationality. Norman’s final position is stuck in Hitchcock’s third dimension: center of the frame, looking straight at the audience. It is unclear if he is Norman, or Mother, or a chilling hybrid of both. Either way, Hitchcock gives the audience a direct gaze into the psychotic mind.

Related Work

Very few movies employ all three dimensions of left, right and center. One extraordinary example beyond “Psycho” is Krzysztof Kieslowski’s “Blue.” Juliette Binoche’s character of Julie is often photographed in the center, blurring the line between her past and present life. She is a complex woman, with a muddled history and an uncertain future. In short, she does not fully know who she is at any given moment – nor does the audience. As a result, Kieslowski allows the viewer to watch and decide, leaving the audience with an ambiguous, haunting ending.

Another complex example is in the television series “Breaking Bad.” In the “Fly” episode (Season 3, Episode 10), Walter White and Jesse are trapped in the lab for the entire show. As Walter drifts off to sleep, he recalls a dark chapter from his life when he was an unwitting accomplice to murder. While he starts the episode exclusively on the left of frame, he drifts to the right and remains right as he recounts the dark, regretful story.  At the show’s climatic moment when Walt fights the fly (a metaphor for his inner demons) he is centered and looks straight ahead. This episode is a fascinating and successful study of Left-Right-Center orientation directed by the filmmaker Rian Johnson. 

 Conclusion

 Although many films place a character at the left edge of the frame looking right to signify the future, and the right edge looking left to signify past behavior, very few incorporate the use of the center. Studying Alfred Hitchcock’s Psycho reveals how and when to fill the center of the frame. It is not for every character and story, but when a morally ambiguous character uncertain of his own place in the universe needs a place to hide, the least obvious space of front and center can be most effective.

Bibliography

Durgnat, Raymond. “A Long Hard Look at ‘Psycho.’” BFI Publishing. 2002.

Oliver, Kelly and Trigo, Benigno. “Noir Anxiety.” University of Minnesota Press. 2003

Robertson, Robert. “Cinema and the Audiovisual Imagination.” I. B. Tauris & Co. 2015.

Wells, Amanda Shehan. “Psycho.” York Press. 2001.

Symbolism in The Dardenne Brothers' "Kid With A Bike"

The Dardenne Brothers’ Kid with a Bike displays a vibrant cinematic history, that incorporates many diverse stylistic movements. 

A coherent study of the film reveals the movie’s power comes from it’s universal story structure represented by the deliberately planned mise-en-scène. Specifically, the movie draws upon established fairy tales, biblical references, and cinematic history to visually present it’s powerful and touching premise.

The movie feels akin to a modern fairy tale. The main character, Cyril, dressed in red and on his own, encounters threats and villains while in the woods. This simple idea recalls such legends as “Little Red Riding Hood” and “Hansel and Gretel.” Furthermore, the idea of a boy seeking a family, and taking solace from a fairy godmother figure evokes the familiar tale of “Pinocchio.” These references comprise the mise-en-scène in the scene where Cyril first enters the woods at the movie’s 0:41:40 mark.

“The Kid with a Bike” abounds with Biblical allusions. The lessons of the film’s plot are very primal, dealing with moral issues of right and wrong, visually depicted in the mise-en-scène. Several of the Ten Commandments come to mind such as “Thou Shalt Not Steal,” and “Honor thy mother and father.” An additional reference comes from Adam and Eve’s temptation of evil at the base of the tree, which is recreated in the movie as Cyril encounters Wes. Furthermore, Cyril (a small boy) is constantly battling bigger kids. This recalls the David and Goliath story. Even the Walls of Jericho are referenced each time Cyril visits his father. Cyril must climb over a fortress-like wall just to see him – a test of strength and courage. 

Many New Testament references occur throughout with suggestions to the life and teachings of Jesus. The most significant is the overall relationship with Samantha. As a single woman with no given history, she becomes a Virgin Mary figure as the loving parent to Cyril. One key example is the recreation of the Pieta imagery of Madonna and Christ when Cyril first meets Samantha at the 0:08:25 point in the film. 

Several other images recall New Testament stories, such as Jesus’s pierced side when Cyril stabs Samantha, and the parable of the Good Samaritan when Cyril waits on the side of the road to attack the newspaper salesman (and also as Samantha acts toward Cyril to care for him). A final example is when Cyril returns to the woods to escape his attacker. Cyril climbs a tree and has stones thrown at him, recalling the frequently quoted line where Jesus says “Let him who is without sin cast the first stone.”

The movie draws upon many cinematic references. First is the Italian Neorealist film “Bicycle Thieves.” Yet the film’s style recalls the entire Neorealist movement as it is shot with a loose, documentary technique, focuses on the lives of the poor working class, and is also filmed on location with non-famous actors. The next style synthesis is from the French New Wave, as it incorporates more impressionistic editing. 
The film also abounds with the foundations of Hollywood films. 

This includes the wardrobe influence of James Dean’s red jacket-wearing troubled kid in “Rebel without a Cause,” and the lifelong obsession of the sled Rosebud in “Citizen Kane.” The overall emphasis of the bicycle is a reference to many films such as “E.T.” and “Butch Cassidy,” especially in relation to youth, happy times, and golden memories. Finally, at the 0:58:38 point, Cyril turns down a movie (“in 3D!”) to instead commit the robbery which nearly ruins his life. Like Francois Truffaut, movies could have been his savior. 

Michael Carvaines teaches a Screenwriting class in Southern California