As Hitchcock himself says in the trailer, "This young man -- you had to feel sorry for him. Share this:. Norman's efforts to protect his mother, Wood writes, make it easier for the viewers to shift their identification to him: "Norman is an intensely sympathetic character, sensitive, vulnerable, trapped by his devotion to his mother -- a devotion, a self-sacrifice, which our society tends to regard as highly laudable…He is a likable human being in an intolerable situation" Similarly, the violent paintings in which the elders assault her show a scene that is neither described nor contradicted in the Bible; they were assembled in the painters' minds based on detail A the elders went up to her and B they demanded that she satisfy their desires.
I have emphatically said this in any interview I've ever given. He paces the room then finally decides what he must do. The violence in Norman's Susanna prefigures his impending violence against Marion, while Susanna's nudity prefigures Marion's own.
Ellen Spolsky concludes that the bath never happens in the Bible, but that it is "the painterly parallel of Susanna's own desire to bathe in the heat of the day, and the Elders' wish-fulfillment slander. While Norman and Marion are talking, the camera cuts from him to her and back, never showing both of them in the same frame.
Thus guilt and violence of the sort depicted in the painting serve as a screen to block and transform the image of desire, a visual filter that darkens and perverts the sexual impulse.
Yet like our identification with Marion, the connection we feel with Norman is troubling. Having decided to return to Phoenix with the money, Marion steps into the shower to cleanse herself of the crime.
This provided some shock effect, since toilets were virtually never seen in American cinema in the s.