Psycho (1998)
Well, the day has finally come when we can view Gus Van Sant's version of an all time classic. It's the kind of film that critics and film buffs around the country hated before it was even released, a movie that has both angered and intrigued people around the country since its announcement. And you know what: it's not that bad.
I myself am a huge fan of Hitchcock's original film. In fact, it's probably one of my favorite films ever made. Yet, all the fuss over Van Sant remaking Psycho, shot by shot nonetheless, seemed ridiculous to me. I was immediately fascinated by the idea of seeing one of my favorite directors tackle one of my favorite films. After all, every time you hear Beethoven, or go to see a classic theatre play, you know exactly what you're going to get. No one's going to change some musical notes in "Fur Elise", or add a few lines to "Romeo and Juliet". Yet these pieces continue to please and delight world wide audiences on a regular basis. So, why not remake a Hitchcock standard nearly 30 years later? Thus, with an open mind and a curious itch, i revisited the Bates Motel.
For the first few minutes of Psycho it becomes impossible not to feel strange. Essentially, you're watching the same credits, the same characters, the same camera shots, and the same lines of dialogue. It's very off-setting and I began to worry that this feeling would permeate the whole movie. Yet, as soon as Anne Heche walks into the office where she works, the feeling of familarity seems to take a backseat to the excitement of the classic storyline. Heche is a revelation, vivdly re-creating the character of Marion Crane, while adding a distinctly modern flavor to the role. It's almost sad to see her go a third of the way into the movie. It's sad because once she dies, Norman Bates becomes the character of focus, and Vince Vaughn is faced with the daunting task of reprising the role made famous by Anthony Perkins. Vaughn wisely elects to steer clear of mimicry, instead choosing to interpret Norman in a slightly different tone. Vaughn's portrayal is still creepy and unsettling, but it's just not the same. It's like watching someone sing a great song at a karoke party. All of the elements are in place, but it's just not quite right.
The story is familar enough to most everyone from here on out, but it should be noted that William H. Macy and Julianne Moore turn in outstanding performances in their respective roles. I didn't particularly care for Viggo Mortenson's interpretation of Sam Loomis though, it didn't seem to gel with the rest of the cast.
Gus Van Sant decision to use color imbued the film with some very vivid coloring that seemed to suggest Van Sant's earlier independent films. The use of color also heightned the gory aspect of the shower scene, though the shot of Anne Heche's ass seemed a bit unnecessary. The only other real changes have already been mentioned every where else, except for the second murder scene. While Macy is being killed off by mother, a shot of a woman in lingerie flashes on the screen, followed by a shot of a cow in the middle of the road. So, I guess Van Sant couldn't be entirely normal the entire film, which made me happy. He stil managed to sneak a tiny bit of his vision into the film.
Thus, when all is said and done, who knows what people will say about this experiment in cinema. The reviews aren't that great now, but they weren't that great for the original either. Most likely it will be Hitch's version that is studied 100 years from now, Van Sant's will most likely be forgotton. But if nothing else, it might convert a whole new generation of fans to the Psycho legend. And as I mentioned before, it's not that bad.
Gus Van Sant talks about Psycho
Cinescape's Psycho remake page
Saving a Classic (an anti-remake page)
Buy the DVD (w/featurette, director commentary, and more!)