In real time, the killing of Marion Crane would be over in seconds. By disassembling the details of the killing and trying to shock the audience with the killing, Hitchcock lengthened real time. As in the Odessa Steps sequence in Potemkin, the subject matter and its intensity allow the filmmaker to alter real time.
The shower scene begins with a relaxed pace for the prologue: the shots of Crane beginning her shower. This relaxed pacing returns after the murder itself, when Marion, now dying, slides down into the bathtub. With her last breath, she grabs the shower curtain and falls, pulling the curtain down over her. These two sequences—in effect, the prologue and epilogue to the murder—are paced in a regular manner. The sequence of the murder itself and its details rapidly accelerate in pace. The shot that precedes the murder runs for 16 seconds, and the shot that follows the murder runs for 18 seconds. In between, there are 27 shots of the details of the murder.
These shots together run a total of 25 seconds, and they vary from half a second—12 frames—to up to one second—24 frames. Each shot is long enough to be identifiable. The longer shots feature the knife and its contact with Crane. The other shots of Crane's reaction, her shock, and the blood are shorter. This alternating of shorter shots of the victim and longer shots of the crime is exaggerated by the use of point-of-view shots: subjective shots that emphasize Crane's victimization. Pace and camera angles thus combine to increase the shock and the identification with the victim.
Although this sequence is a clear example of the manipulative power of the medium, Hitchcock has been praised for his editing skill and his ability to enhance identification. As Robin Wood suggests about the shower sequence, "The shower bath murder [is] probably the most horrific incident in any fiction film."2 Wood also claims that "Psycho is Hitchcock's ultimate achievement to date in the technique of audience participation."3
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