Analysis of Psycho: The Parlor Scene

The scene begins with what appears to be an innocent invitation from Norman to Marion Crane, the unsuspecting guest at the Bates Motel, to come into "the parlor." The use of the word parlor establishes the tenor of the scene. The image shows Norman directly outside the parlor. There is a reflection on the glass that somewhat appears Norman is inside the parlor and foreshadows the future events.


The Parlor is extremely small and hardly fits the existing furniture. The use of minimal furniture consists of two chairs, the lamp table, coffee table, and chest. . On the lamp table is a Tiffany lamp which is the only source of light in the room and thus the key light within the scene. The characters are specifically positioned according to the light source in order to emphasise their aims and intensions within the scene as well as their characterisation.
  
Marion, is located close yet slightly behind the lamp. Her face is well lit, and similar to the lamp, appears to radiate a glowing warmth. Despite the fact that she has embezzled forty thousand dollars from her employer, she is not hidden in shadows of evil or consumed by the darker side of her nature. Leaving Marion in light indicates that redemption and atonement is possible. High key lighting is also used on Marion which further creates a softness around her and suggests she is redeemable.
Dramatic irony is shown when Norman does not know the reasons for her travel however the audience knows that she intends to return the stolen money.
Additionally Marion is located in front of a round picture fame while Norman is harshly lit in a corner of the room with angular picture fames behind him.








On the other hand, Hitchcock positions Norman far from the light source and in a cluttered corner. This has the effect of harsh divide between light and shadow across Norman's face, which re emphasises the the clash of his dual personality. Norman is also immersed in low key lighting which indicates something is hidden and further results in sharp, angular shadows cast ominously on the wall and ceiling above Norman.

Hitchcock uses camera angles to reveal the troubled mind of Norman Bates to the audience. He begins by starting with a state of equilibrium when Marion sitting comfortably in her chair, leaning slightly forward, enjoying a sandwich Norman has made for her. Hitchcock places the camera near eye level so the audience sees Marion from Norman's perspective as they are  sitting and talking. This particular angle provides the audience with a sense of normalcy and comfort.

However Hitchcock moves out of the comfort zone and shows Norman from a low perspective. These two camera angles are juxtaposed suggesting that Norman's world is skewed and unbalanced. The audience then feel uncomfortable and find difficulty extracting any sense of meaning or potential motive because the tone of the dialogue is conversational, thus builds up tension and foreshadows horror. Additionally, the audience are continually shown Marion from the font view however, the camera frequently moves to the left of Norman and includes a frightful back drop. This use of camera movement obscures Norman's other side, or other personality.  




Hitchcock's mise-en-scene shows Marion  surrounded by details that make her a sympathetic character. In front of her is a tray with a small meal prepared by Norman with a jug of milk rather than a small glass. While Marion consumes none of the milk it is the shape of the jug that is used as a visual image. This jug is white and has soft, graceful lines that suggest Marion's essential goodness. In Addition, the curved and rounded lines are repeated in the picture frame,  the Tiffany lamp, with its rounded shade and bright glow, finally, the walls are  soft and brightly lit. Marion, also wears a light coloured dress, has curled her hairstyle and her posture, which further adds to the sense that she is, or eventually will be, the victim.

Norman is immersed in straight lines, many of which are set at angles that create a sense of conflict rather than harmony. To screen left and behind Norman's right shoulder stands a dark chest with straight heavy lines, a contrast to the curved shade of the lamp. Norman also wears dark clothing and,  casts long shadows that strike the walls and ceiling sharply.

Overall, the most graphic feature and clue to the twisted mind of Norman Bates, is the stuffed birds mounted on the walls and on the table and chest, "I like to stuff things,". Moreover, the birds present a rather frightening image in the parlor, as they hover around Norman.