Introduction
Alfred Hitchcock is an undeniably unparalleled master of cinematography, with countless movies representing the techniques that were groundbreaking at the time. However, it is the perfection of the mise-en-scene that should be placed among the crowning achievements of Hitchcock’s mastery. His incredible skill and massive contribution to the development of cinema are particularly apparent in “Psycho,” the movie that has become Hitchcock’s signature piece. By using lighting, elaborate framing approaches, particularly, costumes, and providing unique and insightful directions for actors’ expressions, Hitchcock conveys raw and unfiltered emotion of terror in the shower scene and the final scene in “Psycho.”
Analysis
Blocking
The manner in which Hitchcock uses blocking in each of the scenes under analysis allows not only directing the viewer’s attention to specific aspects of the scene but also limits the area where it can be placed. The specified effect contributes to the increase in suspense and the further unexpectedness of the reveal, thus, building the sense of a ticking time bomb. Indeed, as Joseph notices, “The mood of the scene or the characters in it can be explained by analyzing the placement of subject and the amount of space in the frame” (90). For instance, in the bathroom scene, the blocking approach that restricts the audience’s view to the lower part of the image leads to developing a tangible sense of anxiety and a lingering and unavoidable threats.
Remarkably, the specified aspect of the blocking framework minimizes the opportunities for incor5poratin one fop the crucial aspects of blocking, namely, the actors’ performances. Indeed, with the emphasis on the actress’ legs and the lower part of the room, the opportunities for demonstrating excellent acting are minimized to zero. However, the specified scene encapsulates the two core types of blocking by dividing them into strict categories and separating them accordingly. Namely, in the bathroom scene, the blocking part involving the use of costumes, or, to be more accurate, the absence thereof, is represented. By showing the character’s legs, Hitchcock illustrates her metaphorical nakedness in the face of the imminent mortal danger.
In turn, the second scene, which closes on Vera’s face, showcases solely the aspects of blocking related to performance. With no costumes and no indications that could refer to the sue thereof, the specified part of the scene allows demonstrating the fantastic, unparalleled acting skills of Lila Crane. Specifically, the approach undertaken to the blocking process in the specified scene allows capturing the complete and utter horror that the character experiences as she is facing her murderer. Thus, the blocking in the specified scene is exceptional.
Similarly, in the ending scene, the blocking technique allows creating a truly unsettling and subtly horrifying impression despite the obvious lack of any typical horror movie elements. Using a zooming technique to focus on Bates sitting still in the middle of an otherwise empty room, Hitchcock manages the audience’s attention and directs it to the menacing nature of Bates, with his eyes and facial expression being placed in the focus. As a result of the specified approach to framing, namely, the combination of scarce clothing, an entirely empty setting, and the menacing look on Bates’ face, the scene conveys the exact impression of unfiltered horror or, at the very least, a profound sense of unease. Remarkably, even the sue of clothing as one of the core elements of blocking is minimized in the specified mise-en-scene, which allows the viewer to center the attention solely on Bates’ facial expression, particularly, the creepy smile and the menacing look in his eyes, which Anthony Perkins portrays impeccably.
Lighting
Remarkably, the masterful use of lighting discussed above intersects with the choice of framing in the film, which allows amplifying the sense of lingering doom. Specifically, the careful choice between the light and dark areas within the frame, particularly, Bates’ dark silhouette against the brightly shining lightbulb, contribute to the impression of horror that the scene conveys. The importance of using contrasting dark and light imagery in a mise-en-scene has been explored in ample details in film studies; specifically, Deutelbaum describes a similar effect created in “The Diary of Anne Frank”: “the image of Anne’s room might be described more abstractly as a series of light and dark vertical sections or panels of varying widths and textures” (22). Therefore, the use of light speaks volumes in the movie, allowing the viewer to embrace the horror of the scene and become immersed into its environment.
Similarly, the use of lighting in the ending scene of the movie leaves a massive impression on the viewer and enhances the sense of fear and horror. The described effect is achieved by a combination of different lighting techniques. Specifically, throughout the scene, the room remains well-lit, which creates a false sense of security. However, with the presence of Bates slightly off to the center in it, the specified impression dissipates, being replaced with fear. In turn, the shadows under Bates’ eyes becoming evident as the camera zooms in on his face create a dramatic effect that amplifies the feeling of dread and the sense of danger. The described effect becomes even more terrifying as Bates’ image is overlayered with the image of a car being pulled slowly from the dirt. Namely, Bates’ face lighting during the scene transition creates an uncanny picture that stays with the viewer for quite some time, even though it takes only a fracture of a second to be shown on screen.
Therefore, both scenes in “Psycho” demonstrate an incredible use of blocking and lighting as the means of eliciting the raw emotion of fear in the audiences. Even though the effects in question have become overused since they were introduced first in “Psycho,” they still manage to impress the viewer as the plot of the movie unfolds and the scenes in question emerge on screen. The elaborate us of lighting and shadow and the blocking approach for emphasizing essential aspects of the artists’ performance create a unique effect that makes the movie especially memorable in its frightening effect and meaningful in its contribution to cinematography.
Conclusion
The use of core mise-en-scene elements such as the sue of shadows and lighting, costumes, and the techniques for controlling artists’ expressions, Hitchcock manages to enhance the suspense in the bathtub scene and final scene of “Psycho.” Though limited in his choice of cinematography options due to the technological constraints of the time, Hitchcock created a masterpiece that continues to shock with its innovation and an incredible approach to building suspense. By ensuring that the elements in question interact with one another, Hitchcock weaved an intricate fabric of a highly suspenseful and thrilling environment, thus, constructing an unforgettable cinematic experience for viewers.
Works Cited
Deutelbaum, Marshall. “Organized Clutter: The Precise Composition of The Diary of Anne Frank (1959).” Mise-en-scène: The Journal of Film & Visual Narration, vol. 7, no. 1, 2022, pp. 22-24.
Joseph, D. Ignatius Maria. “Creating Meaning through Interpretations: A Mise-En-Scene Analysis of the Film’96.” International Journal of Research in Engineering, Science and Management, vol. 2, no. 10, 2019, pp. 490-492.