REVIEW – Psycho II

Published on: 24th December, 2009

REVIEW - Psycho II  | read this item

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It has become commonplace now that if a movie does big business (or even above-average) at the box office then a sequel is almost guaranteed. And whilst there is always some element of financial risk, both critics and fans are usually prepared to write the follow-up off as a cash-in. With just a few exceptions (most notably Empire Strikes Back, The Godfather: Part II and Terminator 2: Judgement Day), sequels are often inferior, derivative and pointless. Tom Holland must have been aware of this when he was hired to write the screenplay for one of the most controversial sequels of all time, Psycho II. Released three years after the death of Alfred Hitchcock, whose seminal masterpiece had single-handedly re-invented the horror genre by providing it with a familiar face, the second movie arrived twenty-three years after its predecessor and the critics were waiting to tear it to pieces.

Having spent over two decades in a mental institution for the murder of several people and having lived with the decayed corpse of his mother for many years, Norman Bates (Anthony Perkins) is finally considered rehabilitated and is released back into society, under the watchful eye of Dr. Raymond (Robert Loggia). Quick to oppose the court’s decision is Lila Loomis (Vera Miles), whose sister was one of his victims and had fought to keep him behind bars for the rest of his life. Having returned to his old motel, he fires the sleazy manager (Dennis Franz) and reports to work at a local diner, where he meets down-on-her-luck Mary (Meg Tilly). But soon people begin to disappear once again and Lila is determined to convince the authorities that Norman is responsible. But how far is she willing to push the truth to prove that he is guilty?

Psycho II was originally released as a novel in 1982 by Robert Bloch (the writer of the book that Hitchcock’s film had been based on) and was created as a satire on Hollywood and America’s newfound obsession with the slasher film. The movie, released the following year, had no relation and told a completely different plot, with only Norman and Lila returning (although both had revealed that Lila had married Sam Loomis, who had dated her sister in the previous story). Setting the film over thirty years after the events of Psycho, both Perkins and Miles had aged appropriately and the filmmakers’ decision to show Norman much older gave the movie an element of credibility. Although critics were shocked and angered by the decision to make a sequel to such a classic (as they would later do with Gus Van Sant’s remake), the surprise came when the movie was actually revealed to not be the disaster everyone had feared.

The mistake that Perkins would make with the third film was to make Norman more of a generic slasher character, yet with Psycho II he is perhaps the most sincere and thoughtful of all the principal roles. His offer for Mary to stay at his home is not out of any sadistic or sexual motive but merely because he pities her and has ample room at his house and motel for guests. Here, Norman continues to be a three-dimensional character instead of a maniac, and despite Lila’s best efforts to once again drive him insane he manages to remain stable. Although Perkins had been understandably hesitant about returning to the role after so many years, he gives a performance worthy of Psycho, whilst Miles is suitably bitter and conniving as the antagonist, despite only wanting vengeance for what Norman had done years earlier.

Tilly gives a warm and likeable performance as Mary, who becomes a close friend for Norman and tries to look out for him, despite the twist ending revealing that she is really Lila’s daughter and was sent to drive him insane. Realising that her mother is the one who is losing her mind, Mary tries to stand by her new friend and defy her mother. It is a shame that Tilly would only enjoy brief success as she was both beautiful and talented and could have enjoyed a more prolific career. Performing alongside two veterans such as Perkins and Miles, Tilly more than manages to hold her own, whilst Loggia is also up to his usual standard. It is a shame that John Gavin was unwilling to reprise his role as Sam Loomis, due to having been appointed Ambassador to Mexico by President Reagan, but the presence of the two leads is enough to cement this was a worthy continuation.

To step into the shoes of someone as respected and ingenious as Hitchcock must be an overwhelming task, but Australian filmmaker Richard Franklin (fresh from his homegrown success with Patrick and Road Games) manages to pay tribute to the original movie whilst adding his own unique style. Holland’s script is relatively cliché free (aside from the inclusion of two horny teens, added to appease the slasher crowd) and is strong on character, proving that sequels don’t always have to be generic and irrelevant. There are very few sequels that stand up to their original as well as Psycho II and whilst it may fall short of the original it comes pretty damn close. Unfortunately, however, the following two sequels would be as disappointing and worthless as critics had feared Psycho II would be.

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