Réalisation:
Richard FranklinScénario:
Tom HollandPhotographie:
Dean CundeyMusique:
Jerry GoldsmithActeurs·trices:
Anthony Perkins, Vera Miles, Meg Tilly, Robert Loggia, Dennis Franz, Hugh Gillin, Tom Holland, Oz Perkins, Lee Garlington, Jill Carroll (plus)Résumés(1)
Après 22 ans passés dans un asile psychiatrique, Norman Bates retrouve enfin sa liberté et rentre au motel familial. Il fait la connaissance de Mary Loomis, une jeune femme assez troublante juste avant de se retrouver dans la même situation que 22 ans plus tôt. Mais alors qu'il s'apprête à assassiner Maureen, il l'empêche de se suicider et tombe amoureux d'elle. Et si Mme Bates était encore vivante ? Et si Norman retrouvait sa folie ? Et si quelqu'un le faisait passer pour fou ? (texte officiel du distributeur)
(plus)Critiques (2)
It's like the Gus Van Sant remake, I don't see much reason to film this, but if anything, I'm certainly not offended by Franklin’s take. But, it's also a beautiful example of how a plot twist in the last minutes can reliably flush the entire logic of a story down the toilet. Otherwise, I enjoyed it more than I would have expected, Anthony Perkins with his gaunt, sinewy physique was perfectly suited to the torn psychotic, and Jerry Goldsmith, although he's going about half throttle, still manages to embellish the tense scenes with disturbing music. Too bad the screenwriter went off his meds in the last few pages and lost his mind.
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Better than I expected, and not as pointless as I feared. Hitchcock's atmosphere is somewhere else, of course, but the ambiguity of the main, ahem, character was an absolute delight who, in my case at least, arouses alternating pity and fear while for quite some time eludingan understanding of what exactly is going on in his head. The bloody finale was downright monstrous and the final blow sealed everything. My only regret was the sloppy behavior of the cops, who the script didn't care about half as much as Bates and Co. Jerry Goldsmith's music was fine – nothing memorable, but 100% effective.
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