PSYCHO – 60TH ANNIVERSARY EDITION [BLU-RAY] [4K UHD BLU-RAY]

PSYCHO 60TH ANNIVERSARY EDITION [Blu-ray] [4K UHD Blu-ray] includes two alternate widescreen versions –
* PSYCHO UNCUT . . . THIS RESTORATION VERSION has been extended with additional footage, now providing the widescreen version of the movie identical to the widescreen version seen in USA movie cinemas in 1960, and this is the final directors-cut version of PSYCHO, delivered exactly as intended by Sir Alfred Hitchcock.
* PSYCHO CUT . . . Since 1960, there were two widely seen modified versions of the movie. However both the full screen AND the widescreen version, were modified from the original version, by editing to selectively remove content, and then subsequently used for TV broadcasts, Cable broadcasts, cinema theatrical re-releases, and NTSC/PAL home video entertainment releases over the last sixty years.
Highly Recommended. ⭐⭐⭐⭐⭐

“A Phoenix secretary embezzles $40,000 from her employer’s client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.”

In 1960 Alfred Hitchcock’s PSYCHO created modern horror, and changed the thriller genre forever. Unique content and unique marketing, and now immortal for its deliberate contribution to the horror genre. One of the most shocking thriller films of all time. Featuring the most iconic shower scene in movie film history. This landmark masterpiece of the macabre, was filmed in gorgeous black and white, and was permanently censored by the studio for six decades . . . until 2020. Join the Master of Suspense on a still terrifying and always chilling journey, as an unsuspecting victim (Janet Leigh) visits the Bates Motel, and falls prey to one of cinema’s most notorious psychopaths – Norman Bates (Anthony Perkins).

Anthony Perkins is the troubled Norman Bates, whose old dark house and the adjoining The Bates Motel, are not the place to visit. Marion Crane (Janet Leigh), is the ill-fated traveler whose journey ends in the notorious “shower scene.” First a private detective, then Marion’s sister (Vera Miles) searches for Marion, all the horror and the suspense mount to a terrifying climax, where the unexpected killer is finally revealed.

USA versions of this movie, had two aspect ratios, both with the running time of 108 minutes and 51 seconds. The original theatrical matte was 1.85:1 but the 35mm negative was “Open Matte”. Originally shot in full frame 1.33:1 (Open Matte) with the contractually required intention that each movie theater would only ever show the movie film in the studio recommended 1.85:1 aspect ratio. Achieved by masking off the frame during projection, by using a 1.85:1 Projector Aperture Gate Plate. All of the image located outside of the area intended to be shown, is fully blocked.

Worldwide when broadcast on TV in the 70s 80s 90s the unmatted full frame 1.33:1 version was shown (Open Matte) which was similar in shape to the original format of TV screens, the original television standard was 1.37:1 (4:3) Aspect Ratio.

VHS NTSC videotapes and the 1979/1981 DiscoVision (MCA) Laserdiscs and the 1984/1988 MCA Home Video Laserdiscs were issued in the full frame 1.37:1 (4:3) version, matching the original television standard Aspect Ratio. DVD and Blu-ray releases only have the Aspect Ratio 1.78:1 version. The full frame 1.37:1 (4:3) version is not available on DVD and Blu-ray and 4K UHD-BDs releases. MCA/Universal Home Video Laserdiscs widescreen version with Aspect Ratio 1.78:1 were issued from 26 May 1998.

At the time of Laserdisc manufacture in 1984/1988, the studio claimed that the original 35mm negative was lost. Laserdisc version has some of the shower scenes zoomed-in ever-so-slightly, because the studio used the only remaining available source material, a cleavage-hiding TV print matte. VHS NTSC videotapes are not cropped for these scenes.

However the famous shower scene, selectively has the 1.85:1 aspect ratio (Hard Matte) optically blackened onto the original negatives, which was created by blacking just the bottom of the frame. During the the shower scene, only whilst watching PSYCHO in the full frame version, there is constantly different amounts of black that have been added to the bottom of the image, to selectively hide different amounts of image.

Despite being edited to under three minutes, the famous shower scene, took six shooting days, and the sequence was filmed from 77 different camera angles, and the editing includes around 50 cuts. The total number of cuts includes all the Australian cuts made in Australia, by the Commonwealth Film Censorship Board. Still one of the most heavily dissected and talked about, original moments in cinema history, and Hitchcock created the first slasher movie film.

60th Anniversary Blu-ray and 60th Anniversary 4K Ultra HD issued September 2020, now has the original version, plus a 13 second longer restored version. Original 1960 version is 108 minutes and 51 seconds. Restored version is 109 minutes and 04 seconds. From 46:52 minutes – The famous shower scene is identical in both versions (2 minutes and 38 seconds).

From 44:44 minutes – Marion does not know that Norman Bates is watching her, as she is undressing for the shower. Two second shot where she removes her bra, but this is an angled shot where her breasts can not be seen, so there was little need to edit. Normans eye closeup, and dropping off her bra is missing (5 seconds).

From 53:06 minutes – After the homicide, Norman Bates stares at the blood on his hands and takes much longer washing his hands. Normans bloody hands are visible longer (1 second) and Norman went to bathroom with his bloody hands (4 seconds).

From 77:47 minutes – The Detective Milton Arbogast (Martin Balsam) is attacked and falls down the staircase. After the detective has fallen down the stairs, and whilst he is lying on the floor, Mother attacks him with the knife, an additional two times (3 seconds).

quote “Ladies and gentlemen, citizens of Australia, cinephiles, and lovers of the art of suspense, gather round, for I have witnessed a masterpiece that will forever alter the landscape of cinema.

The Australian première of Alfred Hitchcock’s PSYCHO at the State Theatre, 49 Market Street, Sydney, in September 1960, was nothing short of a revelation. The eclectic night where the silver screen shimmered with brilliance, and the art of storytelling reached brand new, dizzying heights.

### The Theatrical Cinema Experience Like No Other ###
The State Theatre, with its palatial grandeur and timeless elegance, was the perfect setting for such a momentous occasion. As the lights dimmed and the curtains parted, the audience was transported into a world where every shadow whispered secrets, and every frame dripped with tension. Alfred Hitchcock, the maestro of suspense, had outdone himself, and Sydney was privileged to witness the unveiling of what can only be described as a cinematic tour de force.

### The Story That Defies Convention ###
PSYCHO is not merely a film; it is an experience, a psychological journey that challenges and thrills in equal measure. The narrative begins with a seemingly simple tale of theft and desperation, as Marion Crane (the luminous Janet Leigh) flees with a stolen fortune. But Alfred Hitchcock, ever the master of misdirection, takes the audience on a rollercoaster of twists and turns that culminate in one of the most shocking and iconic moments in film history **the shower scene**.

Even in its edited form, slightly trimmed to appease the demands of Australian censors running the Commonwealth Film Censorship Board, **the shower scene** delivered greatly improved visceral impact. The piercing strings of Bernard Herrmann’s score, the crisp stark black-and-white cinematography, and the masterful editing created a sequence that left the audience gasping in collective awe. It is a testament to Alfred Hitchcock’s genius that even with cuts, the scene’s power was undiminished.

### Performances That Haunt and Captivate ###
The ensemble cast delivered performances that were nothing short of extraordinary. Janet Leigh, in the role of Marion Crane, was a revelation, with her vulnerability, her desperation, her quiet strength all shinning through in a superb performance that anchored the film’s first act. Anthony Perkins, in the role of Norman Bates, was an unforgettable character that will forever be etched in the annals of cinema. Anthony Perkins’ portrayal of the shy, awkward motel owner with a dark secret was a masterclass in nuance. His ability to evoke both sympathy and unease was spellbinding, and his final moments on screen left the audience in stunned silence. The supporting cast, including Vera Miles, John Gavin, and Patricia Hitchcock, added depth and texture to the story, ensuring that every character, no matter how small, felt fully realized.

### Hitchcock’s Vision is A Symphony of Suspense ###
Alfred Hitchcock’s direction was, as always, impeccable. His use of light and shadow, his innovative camera angles, and his meticulous attention to detail, created a visual language that was both beautiful and unsettling. The State Theatre’s vast screen and impeccable acoustics, only heightened the experience, making every frame a work of art and every note of Bernard Herrmann’s score a pulse-pounding accompaniment to the unfolding drama. The editing, despite the necessary Australian Censorship cuts, was seamless, and by removing a total of thirteen seconds of footage, and now delivering the film’s greatly improved pacing, that was was also completely flawless. Alfred Hitchcock knew precisely when to tighten the screws and when to release the tension, keeping the audience on the edge of their seats from the opening credits to the chilling final moments.

### A Night to Remember ###
The Australian première at the State Theatre was more than just a screening; it was an event, a cultural moment that will be talked about for years to come. The audience, a mix of critics, film enthusiasts, and curious Sydneysiders, was electrified by what they saw. Conversations erupted as the end credits rolled, with everyone eager to dissect the film’s twists, its themes, and its sheer audacity. PSYCHO is a film that redefines the thriller genre, a bold and daring work that challenges conventions and leaves an indelible mark on its audience. Alfred Hitchcock has once again proven why he is the undisputed master of suspense, and the State Theatre was the perfect venue to showcase his latest triumph.

### Final Thoughts In the annals of cinema, there are films, and then there are EVENTS. ###

The Australian première of PSYCHO at the State Theatre in September 1960 was undoubtedly the latter. It was a night, where art and entertainment collided, where the boundaries of storytelling were pushed, and where Alfred Hitchcock once again reminded us, why he is the greatest filmmaker of our time.

To those who were fortunate enough to be in attendance at the State Theatre, cherish the memory. For those who missed it, seek out PSYCHO at your earliest opportunity. This is not just a movie film; it is a masterpiece, a landmark in cinematic history, and a testament to the power of storytelling.

Bravo, Mr. Hitchcock. Bravo.” unquote.

In Australia, the Commonwealth Film Censorship Board was established in 1917, with the remit – TO CUT or COMPETELY BAN – to register, to view, and then to censor all movie films imported from overseas, plus all Australian movie films.

Of course in Australia, the necessary Australian Censorship cuts, the total footage length deleted, and/or total number of seconds deleted, are as always, all that information can never ever be published, and can never ever be advertised. HOWEVER since 1971 Australian Cinemas have taken to advertising UNCUT, when Australian Cinemas re-release UNCUT versions of the same movie film.

* * * WHY FILMS ARE CUT BY CENSOR * * *
* In Sydney Australia, on Monday, The Commonwealth Film Censor (Mr. Alexander), explained (fully) today that there was no irrevocable film ban on expletives, such as “bloody” if they were used naturally, and without emphasis and were essential to the humour of the dialogue.

*** However, it was usual for the Film Censorship Board to ban the following scenes –

* Fight scenes depicting kicking.

* Scenes portraying new angles on criminal technique.

* Inaccurate overseas commentaries that would irritate Australian audiences.

* Films implying that crime pays dividends.

* Horror scenes likely to shock the minds of audiences.

* “We judge each scene on its merits, recognising the important part that the (cinema) screen plays in the national life,” Mr. Alexander added.

* Mr Alexander said he did not agree with a commonly expressed view that western and cowboy films and certain types of thriller encouraged juvenile delinquency.

* “I am convinced from the opinion of medical men and psychiatrists that the impact of such films on the child mind is very transitory, and seldom a great, as on the adult mind.” Mr. Alexander said.

* THE SUN – PAGE 3 – Tuesday 20th January 1948.

* * * Horror films like FRANKENSTEIN, were a particular problem for the Commonwealth Film Censorship Board. They were popular, but they were also a frequent subject of complaints by Parents and Citizens Associations, and church groups. Australia decided to banish all horror movies in early 1948, and that might have been just an easy win for the at-the-time Chief Film Censor, Mr. J. O. Alexander. It would appease pro-censorship groups, who were concerned about the influence of films on young minds, and since no horror movies were being released anyway, who would complain? Justified as being, UNDESIRABLE IN THE PUBLIC INTEREST, on Thursday 22nd April 1948, all horror movies were banned . * * *