The events of 1987’s Bates Motel take place 27 years after schizophrenic serial killer Norman Bates is arrested and found guilty by reason of insanity for his crimes. While in the institution, Norman is introduced to a troubled young boy named Alex West (Bud Cort), who murdered his abusive stepfather in a giant tumble dryer and ends up staying in the same institution. Norman takes the lad under his wing until his death 27 years later, coincidentally the same year that Alex is finally allowed out of the institution. According to Norman’s will (how he is deemed of ‘sound mind’ to do so is subject to debate), Alex inherits the Bates Motel and his family home that overlooks it. Alex soon takes over the motel and aims to renovate it back to its former glory. However, he finds the Bates house already illegally inhabited by a spunky runaway girl named Willie (Lori Petty), who worms her way into staying and helping Alex realize his dream of making a go of the motel business. However, not everyone wants the business to succeed, as Alex begins to see the ghost of Mrs. Bates around the place, and calamities begin to happen that threaten the establishment’s livelihood before it can even begin. In what is obviously the first taste of what the “Bates Motel” series would be like, the final third of the film takes a detour as we’re introduced to Alex’s first guest to stay in the motel, an aerobics instructor named Barbara Peters (Kerrie Keane), who claims to be wanting peace and quiet to get some writing done, but in actuality, she aims to slash her wrists in the tub ). At this point, she is visited by a young woman (Khrystyne Haje) who stops her and takes her to a 1950s-themed party happening at the motel (I think), where she is pursued by Tony (Jason Bateman), a young cruiser there, and the two have strong feelings for one another, despite her protestations about their age difference. But there is much more to the events that transpire that night than meets the eye. Richard Rothstein directs this made-for-TV pilot to a series based on Alfred Hitchcock’s Psycho that never followed.
Monthly Archives: June 2022
Psycho IV: The Beginning is the fourth and final film in Universal’s Psycho franchise, and the last to portray Anthony Perkins in his most famous of roles. It’s the first of the series not to be released theatrically, debuting on the premium cable channel Showtime in 1990. This film is a sequel in theory, as it does take a step forward in showing Norman Bates trying to live the semblance of a normal life today, finally in a relationship with a woman, with a baby on the way. Trouble is, Norman does not want a baby, thinking that being a homicidal maniac is a genetic trait that passes on from generation to generation, and he wants his mother’s psychopathic tendencies to end with him.
On this night, Norman is listening to a late-night radio program about why sons kill their mothers, and after hearing what the doctors have to say about it, Norman ends up calling the show to tell how it really went down for him. Under the pseudonym of ‘Ed’, Norman relates the tale of his adolescence, and how his mother Norma’s severe mood swings, psychological abuse, and sexual repression drove him to commit murder, including his own mother.
Although much talked about in the previous films, Psycho IV: The Beginning is the first to show a living Norma Bates (Olivia Hussey), and to give is a first-hand viewing of how bizarre an upbringing a young Norman (Henry Thomas) would have, resulting in an overwhelming feeling of guilt in his actions that he didn’t have the maturity or mental balance to keep a grip on. In addition to Norma’s stamping out of her son’s masculinity and sexuality, there is also an element of Norman becoming a bit of a surrogate for male companionship in her life in between finding a suitable partner, though never physically consummated between mother and son. Mick Garris directs from a screenplay from Psycho screenwriter Joseph Stefano.