Psycho IV: The BeginningBlu-ray Review

Talk radio personality Fran Ambrose is hosting a show with the theme of matricide, and speaking with her guest Dr. Leo Richmond. He references a case from thirty years ago about a patient that kept his dead mother “alive” by absorbing her personality, dressing in her clothes and speaking in her voice. Things get interesting however when a man identifying himself as “Ed” calls in and confesses that not only is he a convicted mother killer, but that he has murdered other women and is preparing to do so again. Fran and Dr. Richmond encourage him to stay on the line and share details of his life in hopes of preventing him from committing further crimes. As details emerge, the doctor quickly realizes that “Ed” is actually his former patient, Norman Bates. Ambrose keeps him talking until she can figure out the best course of action, but the doctor warns her that if she refuses to call the authorities and fails to soothe Bates in pursuit of ratings, the blood will be on her hands.

Psycho IV: The Beginning (1990) is an interesting film that closes out the franchise, serving as both a sequel and a prequel. Psycho II (1983) and Psycho III (1986) are largely ignored, but there is a brief line of dialogue near the end where Norman mentions “the later murders from four years ago”. The main thrust of this tale is the origin story that explores the character of Norma Bates and the manipulative relationship with her teenaged son who would one day murder her. In all previous installments, Mother Bates is an old shrunken monster that harangues her adult son into committing crimes whenever she feels threatened. Never have we witnessed the youthful, beautiful woman the boy grew up loving. Witnessing her erratic and frequently manic behavior gives viewers a glimpse into not only how Norman was raised to feel about women, but also how he is terrified of relapsing into previous behavior now that he is “cured” and facing a life-changing event. Screenwriter Joe Stefano adapted Robert Bloch’s novel Psycho for the 1960 film and returns thirty years later to pen Psycho IV, with very satisfying results. Director Mick Garris (The Stand) tells this intimate story in a dynamic way that creatively explores both timelines without getting bogged down in the process. It is easy to imagine this story presented as a theatrical play with its small number of locations and characters, and Garris pulls the best performances from his highly talented cast.

Anthony Perkins (The Black Hole) slips comfortably back into the role that made him famous thirty years prior, but now audiences get to see a new side of Norman Bates. He is an older man, well aware of the warning signs that he may be slipping into old habits once again and actively reaching out for help. His screen time for the first half of the film is limited, but he takes a commanding lead in the operatic final act. This picture marks the fourth and final time Perkins would play the tormented character he became synonymous with and it is nice to see them both receive a satisfying sense of closure. Henry Thomas (Dead Birds) is given the difficult task of playing Norman as an adolescent and rises to the challenge admirably. There are certainly echoes of Perkins’ performance, but Thomas disappears into the character and makes it his own. The delightful Olivia Hussey (Black Christmas) is alternately sympathetic and terrifying as the unbalanced Norma Bates. She is so wonderful here that it is easy to forget danger lurks just beneath the surface and when released, Hussey is magnificent. Her chemistry with Thomas is both sweet and unsettling and this film benefits tremendously from their casting. CCH Pounder (Tales from the Crypt: Demon Knight) is Fran Ambrose, who shares most of her scenes with the combative Dr. Leo Richmond (Warren Frost, Twin Peaks) and the suspense generated is a testament to the talents of those involved, particularly since their interactions with Norman are exclusively by phone.

The Psycho films are character studies with horror elements mixed in as they explore the many layers of the repressed anti-hero Norman Bates. In the original film, he is a socially awkward young man running an isolated motel with his sick mother. Audiences are hoping he will be able to cover up her crimes without getting caught; the slowly sinking car in the swamp is a perfect example, and when his true nature is revealed it is still possible to find sympathy for the man. The sequels push this emotional connection further, with Bates frequently the victim of other people’s manipulation. The role lives and dies with Anthony Perkins, and while his career extended well outside this series it is always a welcome sight to see him turn on the motel’s Vacancy sign. Psycho (1960) remains at the top of my list of horror recommendations and while the franchise is a bit uneven, I really enjoy all four films.