Psycho II

The idea of making a sequel to Psycho would seem misguided, at best. Not to mention potentially embarrassing for all involved. But as Hollywood has proven, there’s no property that’s “untouchable”…even one with the great Alfred Hitchcock’s name attached. With the success of the slasher genre in full swing, particularly Halloween, Universal went ahead with Psycho 2 (1983) a continuation of the story of Norman Bates, now released from psychiatric care and returning home after 22 years. But is he truly “cured” or is the memory of his mother only waiting at the top of the stairs?

Directed by Richard Franklin, a Hitchcock devotee and pupil, there’s an obvious – and much appreciated - intent to keep things classy. The script by Tom Holland (Fright Night, Child’s Play) is respectful and sympathetic to Norman (played again by Anthony Perkins), now almost a victim himself and persecuted by Lila Loomis for the death of her sister. Norman’s short-lived job at the local diner introduces him to Mary (Meg Tilly), a waitress who needs a place to stay. But just as Norman seems on the road to a full recovery, mysterious messages and phone calls from someone who claims to be his mother begin to pick at the strings of his sanity.

Psycho 2 is more mystery than slasher, although there is one particularly gruesome death that stands out like a sore thumb. Holland’s script cleverly keeps the audience guessing with several twists in the third act. And although there are multiple shots that pay tribute to the original, Franklin and director of photography Dean Cundey (Halloween) do their best to make the film their own.

But most of the credit for the film’s success lies with Perkins portrayal of the infamously unbalanced Norman Bates. Twitchy, nervous but curiously lovable, it would have been a huge mistake to cast anyone else (I’m talking about you Vince Vaughn). Each stutter and hesitation is perfectly realized. Norman still can’t even bring himself to use the word “bathroom” in front of a woman. Successfully shifting sympathy to the previous film’s villain is a trick that even Hitchcock would probably applaud.