Soon astounded when Marian doesn’t barter for

Soon however, tiredness overcomes Marian; this time she’s held up by herself so it would be her fault if she is detected, we begin to doubt her reason as she settles down for the night but not so much that we cease to fear for her. Marian is sharply awakening from her peaceful sleep; she’s managed to find a little peace at last but it’s soon destroyed by a faceless enforcer. The policeman wears sun glasses, a detail exercised by Hitchcock to show that this man doesn’t need to be a particular person, that anyone can hold up Marion and pose a potential threat. It also shows how already fazed we and Marian are by the experience, the real world seems not to matter any more, all individuality of unimportant people to the story has gone, from our perspective.

The audience see the police man via a subjective shot from inside the vehicle; of course we become filled with tension and feel distraught because this man may be about to ruin everything our dear favorite character is and has been working so hard for. He’s so close to discovering the truth but luckily has no reason to believe that she’s done anything wrong at all. Marian nervously explains that she felt to tired to carry on driving so she pulled over to rest, she keeps her eyes wide open trying to provide an air of truth, when all it really is, is a pretence that would only seem more suspicious to the officer. After curiously questioning Marian and checking her ARIZONA license plate, he leaves her to continue her journey, but blatantly begins a silent pursuit; at this point the staccato violin strings are introduced and in turn suspense induced.At a vague attempt to try and lose any tails and dismiss any connections she has to herself, Marian decides to use the money to buy a new vehicle.

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 At first contact with the sales-man he says that he doesn’t want trouble of her, ‘the first customer of the day is always trouble,’ of course it’s only a coincidence that she’s the first customer of the day, and happens to be in a lot of possible trouble. Marian uses the bathroom, to decide to use the money for the first time; like in her private room there is a mirror here as well, to show her other side, used for doing less normal things; the violin strings are present to create tension. It obviously isn’t easy for her but she takes out the money, now fully decided that she will break into it, we realise that there is no turning back, she will never be able to explain the missing money with the evidence she has against her.During the sale of the car the music is slow again and dreamy, like Marian has strayed so far away for her own normal reality that it now fits better into the category of a dream. The car sales-man is astounded when Marian doesn’t barter for the price of the new car; doing exactly what she shouldn’t do, her bahviour appears odd and irrational. We feel anxious towards the situation because it’s so fragile at the moment, any news of a woman escaping from Phoenix with the money, could arrive here at any time; we are therefore more intimate with Marian as we wish this uncomfortable encounter will soon end. The sales-man holds her up, questioning her legal jurisdiction, guessing that she may be being followed and not wisely backing off to her naivety.Also, subjectively, we are shown that the police officer has followed her, he observes from the other side of the road.

To us and to Marian this vision is dreadful. We wonder why he has decided to follow, and if this time he will stop her and search the car. It’s very tense to be silently overlooked by the person you’re escaping from. She buys the car with the CALIFORNIA registration plate to try and confuse potential enquiries about her, as they would be looking for Arizona plates.Marian hastily drives away from the man who’s jut told her not to be in a hurry, but is shortly stopped by him, yet another hold up that makes us want her to run even further away; suspense is create here as we cautiously look on in need of knowing why he has stopped her.

She turns out to just have forgotten to transfer her bags from old car to new. This time Marian continues to drive off, away from the sales-man and now the police man as he joins him, who seemingly was right behind her and just about to stop her; we feel relieved for Marian because that was an extremely close call, perhaps he now knows something about her? The audience may feel, at this point, that because there have been so many near misses already that this escapade is doomed to fail and be brought down, we can’t be certain but it will surely be uncovered.Her journey continues into another night, again we hear her thoughts of what she thinks people are saying about her, a manifestation of the doubt that lies within her, in this case the police man and the sales-man.

The tension on her worried face is appreciated again by the aid of a close up, and we can see her having trouble seeing the road ahead of her, this time not due to blinding lights but by darkness and the heavy rain; intending that all hope for her has gone, not even a glimmer of truth is left. The storm has been unleashed. More of Bernard Herman’s music is introduced to give an air of a chase, but now we know that the chase and discontent is all internal to Marian; she is nervous, anxious and paranoid but seems to have a manic grin on her face. Soon, like the previous evening’s adverse conditions, this time weather, force her to take a turn off the road into place that at this point can only seem like hope. The Bates Motel.

As Marian pulls up to the low, long motel the music drones out, implying that for now the audience can relax as can she. We’re left with nothing but the sound of the rain, rain being the start of a new theme being introduced to do with water, symbolising various purifications. Here we are neither tense nor at any real comfort; Hitchcock specifically left out any music at this instance because usually music is used along with the action to complement it, so certain styles of music are used to show particularly what is happening and what is going to happen. But here, Hitchcock didn’t want to give the audience any clues at all as to what will happen at the Motel, we are left only with a blank mind as is Marian. There has been no dramatic irony used as yet in the film as we are taking this journey with Marian all the way, so we have no knowledge so far of anything accept of what she has seen so far.

Marian gets out and runs over to the Motel only to find that it is empty. As she searches for a host we are introduced to the same looming, sinister looking house we saw in the trailer. We are again reminded of the difference between to two buildings, the Motel being small, horizontal and inferior in stature, some how suggesting that it has been put in front of the dark house to hide it from travellers as they may be put off be the old clich that is the haunted mansion. But like a Psycho, although they may try to hide their dark overbearing side behind a more normal looking but weaker front, it will always be just visible and at any time it could break through and prove that it is a truly evil place.She tries to get the occupants of the house’s attention by sounded her car horn and we are shown, by a long subjective shot, a female sillouette in a window and soon afterwards a man coming out of the house and walking down to the Motel. This seems to give Marian some relief as now she knows she’ll be able to stay the night, but we know from the trailer that a Woman and son both ‘confront’ someone during the film, so the chances are that these will be the very same. We begin to wonder whether one of them is the Psycho and here are confusion deepens; during the following section of the film, the audience’s opinion changes over and over as to who Psycho will be.

Aswell we deduce, based on every other mystery thriller film, that by now we will have been inroduced to the culpret.We are inroduced to a seemingly normal man, Norman Bates, and a seemingly normal environment, a rest from the recent abnormal time Marian has been going through; also, when they enter the Motel the lights are switched on to reinforce this state of normality. Norman is pleasant and tries to lighten the the tense atmosphere brought on by the bad weather and Marians obviouse unease.

Tension is created as we see Marian register her herself as ‘Maria Samuels’ and writes that she is ‘Los Angeles,’ here we now that she is serious and has made herself completely intraceale, ofcourse a disadvantage of doing this is that if anything was to happen to her, no one close would ever know or be able to find her and help her.With aid of a subjective shot we see Norman Bates hesitantly wavering over the room for Marian, we are made to believe that he chooses room 1 on purpose. His excuse is that’s its closer, he’s right next to her if she wants something; but this only unnerves us because if indeed he is the Psycho, it will be much worse for Marian as he can easily keep her in check. His intensions seem kind but the audience guess that there’s more to Norman Bates than meets the eye.He gets her bags and shows her to her to her room; saying that it’s stuffy he opens a window, this could be seen as him opening up Marian to him, making her easy and vunerable to attack. Norman gets to mentioning the bathroom but begins to stutter, he regards it darkly and this seems to put down his happy prescence so he hastly leaves saying that she should just knock if she wants anything; this again reminding us of how close he is to Marian and how easily her room could be infiltrated.

Before he does leave though, he kindly asks Marian to join him to dinner, the light hearted invitation is accepted by Marian mostly out of politeness but partly because of her lack of company; the audience rekindle a few more flames of doubt towards Norman as he constantly seems to be bringing Marian closer and closer to him.Once Marian is alone, she starts to worry about the money and where to hide it, portrayed by edgy nervous music. Again we see a mirror in this room symbolising that this is Marians darker side but because of our attatchment we continue not to think that it’s a bad thing she’s doing. Just as she cleverly hides the money in a roll of news paper the music stops and we hear a conversation coming from the house.

The storm fades away and we’re left with the harsh, unreasonable protests of Norman’s mother, tension is created as we hear that she strongly disagrees with having a woman staying in the Motel, this puts pressure on Marian because this would make her feel more intrussive and unwanted less like a guest.Marian’s feelings of discomfort and guilt are shared by us, although she didn’t open the window herself it still feels as if she’s eves dropping. The audience starts to think about maybe this not being the best place for Marian to be right now as she’s tryig to lie low, and that so far, with the strangeness of Norman and his mother, nothing but more hardship and struggles are yet to come. Starting with spending an awkward meal with Norman because quite clearly, from the conversation we hear, his mother does not approve.

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