[deleted]


[deleted]


Just thought I'd spin this off into a separate thread so as not to get lost in the mix.

--

That's a good idea. It also gets you individually into the OP slot. We need you.

---

In the "landmark" thread, I mentioned descriptions (and depictions) of violence in early films, particularly comedies. Interestingly, I haven't found much evidence of the public being all that shocked by these things, though some angry parents complained about The Three Stooges when they started getting shown on television. ecarle brought up an old Hitchcock quote about how a person falling down a manhole is funny if you don't see them down there covered in blood. That, along with the victims in "Psycho" being innocent seems to be what makes these things different in the eyes of the public.

---

I think the use of violence in slapstick speaks to something in human nature which "isn't very nice," but there anyway.

The Stooges certainly pounded each other, with Moe as the mean, sadistic main tormentor of the other two(who got their licks in, nonetheless.) My parents laid out the Stooge routines pretty directly to me: "If you do any of that in real life, you will kill the other person and go to jail for the rest of your life." So I never did it. But I laughed at it.

And certainly all the Chuck Jones cartoons -- from Bugs Bunny to Road Runner to Sylvester versus Tweety and on and on -- relied on violent hammers on heads, explosions that left blackened faces, all sorts of HILARIOUS violence.

The Home Alone films, while pitched to kids, made plenty of parents laugh at how painful the two burglars were tortured: paint cans to the head, thumb tacks on the floor...


reply

When you think about it, it'd be pretty disturbing to see the Stooges covered in blood, as they'd inevitably be in a Hitchcock film.

---

I read a 1960 review of Psycho that said the detective, "falls down the stairs, covered in blood." As we know, he isn't really covered in blood. But that great big slash down his face created the IMPRESSION(in many eyes, both young and old, that he was covered in blood.) It was all in the mind, exaggerated in the memory.

I trust not a drop of blood was shown on any Stooge at any time. It would have ruined the comedy effect.

I would like to point out that I found The Three Stooges to be a big hit in both high school and college circles -- for GUYS. The meanness of Moe pointed to the mean comedy eventually come to come out of Hollywood in general(MASH the movie, Animal House, all the way to The Hangover, where one guy says to another "You know, you're too stupid to insult"), and guys just love it. The meaner and more violent, the better.

I would also like to point out that the greatest 3-D film I ever saw was a Three Stooges 3-D short that I saw along with the 3-D version of Hitchcock's Dial M for Murder. Whereas Hitchocck was discreet in his use of 3-D(Grace Kelly's hand reaching for the scissors, the chandlier in the flat), the Stooges went nuts: bad guys chased them and threw things at them -- at US -- in 3-D, and it was incredible: pies, hammers, spears, meat cleavers!

reply

But they sure did get violent. I'm thinking specifically of a scene where one of them gets a spike of some kind right in the eye.

----

As my parents warned me of this maneuver: "You will blind the other person for life."

Which reminds me: I've been watching the old HBO series Deadwood and one particularly brutal fight between two men -- totally realistic -- ends when one uses his thumb to claw the eyeball out of his opponent. The eyeball hangs from the socket by its optic nerve, or something. Not funny at all. The opponent remains alive, but screaming -- until beaten to death with a wooden stump.

---

Of course, compared to "Psycho," were talking cartoonish sound effects vs. screeching violins and the screams of a helpless woman. Still not too far off.

---

Well, its like Hitchcock's manhole cover story. Context is everything. Marion's innocence. The long build-up to the murder. The screeching violins. The lingering look at her slow slide to the floor. The sound effects are anything but funny -- we can HEAR that knife puncture flesh even if we don't see it. (NOW we think its funny because casaba melons were stabbed, but we didn't know that.)

Indeed, after awhile Hitchcock even decided that his murder scenes had been too tame (as comedy scenes would be), and he made sure to make the killings in Torn Curtain and Frenzy as brutal, lingering, extended, and realistic(no music) as possible.

Again...context.

reply

Laurel & Hardy also had their moments (spoiler alert). In "The Midnight Patrol," they're actually shot dead (offscreen) after accidentally arresting the chief of police. It's funny, and they did screw up big time, but did they really deserve it, any more so than Arbogast for sneaking into the Bates house uninvited?

---

Probably not, but in both cases, we kind of understand the sentiment of the killer.

---

FYI, Hitch was apparently a fan of Laurel & Hardy, and it was suggested on another board that he may have had 1930's "The Laurel-Hardy Murder Case" in the back of his mind when he made "Psycho." If you haven't seen it, it does involve a knife-wielding man in drag.

---

I"ve heard The Laurel-Hardy Murder Case mentioned in relation to Psycho, and I realize now that its the knife-wielding man in drag. Many times, "ideas are out there but not used to their fullest." We can figure that Hitchcock had that memory of the drag knifer in his memory when he "designed" the look of Mrs. Bates(who looks much different in the movie than as described in Bloch's novel -- in the novel, she wears only a head scarf and her dress is clingy material.)

---

A thought: Often folks writing about "Jaws" note for how much of the movie we don't SEE the shark, he only reveals himself in ever-increasing screen time.

Well, that's kind of how Mrs. Bates is presented in Psycho. We see her once "moving past her window," and once "sitting in the window." The only other times we see her are when "she comes out to play"(kill.) And then finally a long approach to her sitting in the chair in the fruit cellar. But for the most part, Mrs. Bates is unseen, worried about, feared. When will she pop up next? She only seems to pop up when she wants to kill somebody. She's rather like the shark in Jaws.

---

reply

Here's a photo I found of Hitch & Stan, not sure where or what it's from: https://i.pinimg.com/736x/04/c4/dc/04c4dc83d7264def28cfdc6cef45ca51--stan-laurel-laurel-and-hardy.jpg

---

Icons of another time and place....

I recall reading, years ago, how Universal Studios made a decision to eliminate some doubles for Laurel and Hardy and WC Fields who used to roam the studio tour from the 60's on. Came the 80s and 90's, per polling, evidently not enough people remembered who WC Fields and Laurel and Hardy were.

And on the "Making of Gus Van Sant's Psycho" DVD documentary, to prove that Psycho WASN'T that well known, they found a teenage guy on the street and asked him if he knew who Alfred Hitchcock was.

The guy's answer: "Alfred Hitchocck? Never heard of the man."

Sad.

reply

[deleted]

[deleted]

[deleted]

Very sad, especially in Fields' case. Laurel & Hardy at least have international appeal. Hitchcock seems to be at least well-known enough today for most of his movies to get the Blu-ray treatment,

---

Hitchcock has become a "film studies favorite" and his movies seem to have a magical grip on new generations -- packages of his films are always playing on SOME cable channel.

I recall being in Las Vegas in the 80's, in a video store, and there was a huge cut-out of Hitchcock with copies of VHS tapes of all his "newly re-released films" via Universal...plus the other Universal films. Hitch was being sold with Spielberg in that 80's year. In VEGAS. And he's going strong.

---

but Universal has yet to finish off his TV series on DVD in over a decade.

---

Interesting. Well, he made something like 300 episodes, right? I'm assuming all the hour episodes are on DVD? They are more modern and macabre.

---

Speaking of Universal Studios, I believe it's the one in Orlando that still has the "Twilight Zone" Tower of Terror, which I remember being not too far from some sort of Hitchcock attraction -- or was "Zone" in Disney? There was also an "I Love Lucy" attraction nearby once upon a time.

---

I don't have the answers to any of those questions except this one: both the California Universal Studios and the Florida Universal Studios used to have a "Hitchcock attraction" with clips of his films -- "interactive tourist events"("You fall off the statute of Liberty; you are in the fatal shower!") Somebody filmed the Hitchcock attraction with a home video camera from inside the theater,and it looked interesting -- with Anthony Perkins and Shirley MacLaine introducing clips (Perkins' participation tells you this was before his death in 1992) and a screenful of birds ripping apart the screen and seeming to fill the theater.

But, alas, Hitchocck just can't compete with Transformers and Jurassic Park today at the parks. Hell, he can't compete with Back to the Future.

reply



I haven't seen any of the old 3-D movies the way they were intended to be seen. In fact, I wasn't even aware until more recently thay "Dial M for Murder" was even filmed in 3-D. I believe it was Scorsese who said seeing it that way was a revelation. I'm not sure it's worth the cost of a 3-D Blu-ray player, though.

---

I saw that double bill of Dial M for Murder with the Stooges 3-D short in 1980, at a Los Angeles revival house that somehow had 3-D technology for this package. I'm not sure how one would see these films otherwise without, indeed, the heavy expense of a 3-D player.

Dial M "versus" the Stooges short demonstrated how one could use 3-D in a subtle manner(Hitchcock) or not(the Stooges.) As I recall the Dial M 3-D effect, it made the flat in which most of the movie takes please feel like a "box extending out from the screen"; one sensed the characters framed by the chandelier, the lamp and other items. The flat surrounded the audience and the characters. It was the flat that seemed to be the main 3-D effect -- except for the murder scene with Kelly's outstretched hand.
----

reply

I've been watching the old HBO series Deadwood and one particularly brutal fight between two men -- totally realistic -- ends when one uses his thumb to claw the eyeball out of his opponent. The eyeball hangs from the socket by its optic nerve, or something. Not funny at all. The opponent remains alive, but screaming -- until beaten to death with a wooden stump.

----

Even if Hitchcock felt the need to get more graphic as time went on, I'd like to think he wouldn't have taken things as far as people do today. I prefer the "impressionistic" style of "Psycho."

---

I agree. Shock leaves and nausea enters in. (Though several critics felt nausea at the shower murder in 1960.)

The eyes are a very vulnerable part of the human body. Hitchcock gave us the Farmer with the Pecked-Out Eyes in The Birds, and promoted the movie with some gory remarks about "wanting to use grapes hanging out of characters eye sockets" to show what the birds could do(he didn't.)

Well, here's HBO in the 21st Century going all the way. It made sense in a fight to the death that going for the eyes is the way to go -- if you have a stomach for it.

I'm working my way through that 3rd season, and they later had a scene where Dan(the man who tore out the other man's eye) expresses his psychic pain at having killed the man, to his boss , Swearingen. The dialogue:

Dan: Its just hard...seeing the light go out of the other man's eyes.
Swearingen: You mean out of the other man's EYE, don't you? (Pause) Would you rather have had it be his one, or your two?

---

----


reply

I saw the same double bill in NY at the time. I recall that Kelly's flailing hands popping out of the screen got the loudest screams I've ever heard in a theater, a truly visceral moment.

The only other overt 3D effects I recall are the would be strangler falling to the floor, and the detective producing the key from under the stair carpet and holding it out.

reply

Which brings me to what the hell Arbogast was thinking going in there. He knew Norman wouldn't let him in without a warrant, but he just walks right in a little while later? And why was he under the impression that Norman wouldn't be there? Bad move

---

There has been some discussion of Arbogast being a trespasser, and whether or not Mother(Norman) had the "self-defense" right to kill him. On the latter part, likely no -- certainly not with multiple stab wounds.

But Arbogast DOES sneak into the house, and IS trespassing. I think Hitchcock gave us something realistic even as it was contrived -- Norman throws Arbogast off the property and says a warrant will be necessary. Arbogast leaves. But he's had the time to become "not entirely satisified," so he reports his MAJOR information(Marion was at the Bates Motel) to Lila and drives back to the motel. Haven't we all had moments of indecision like this...and changed our minds?

Arbogast calls out the name "Bates?" in the motel office, so he seems prepared to confront Bates if he has to, maybe to say "I've decided to talk to your mother, whether you want me to or not. We're talking about a missing woman here and I think I'd better find out what's going on -- unless you DO want me to call the police." Arbogast is a tough guy, and very tenacious, and Norman has given him a BIG lead: Marion talked to the Mother.

As Arbogast enters the house, he winces at the noise of his closing the door. He KNOWS he's trespassing. And he climbs the stairs with a certain wariness. I figure he figures he is about to meet:

Mother, alone.

OR

Mother and Norman.

OR

....Marion herself!

Arbogast enters that house and climbs those stairs because he is driven to. Financially, perhaps. He's on a big case, hired by a real estate company with a RICH MAN in the play. Arbogast probably sees a big "killing."

Just not his...

reply


----

I'd like to think most parents would've had that conversation with their children, but I remember an old interview with Moe where he mentioned people causing enough of a fuss to have the Stooges' work analyzed by a psychiatrist.

----

Funny...a psychologist, as I recall, did a print interview with Hitchcock -- very politely -- about the possible impact of the "increased violence" in Psycho.

---

The conclusion they came to was that if a child acted violently as a result of watching the Stooges, there was something wrong with the child to begin with.

---

And Hitchcock had a similar story he used -- though it always seemed that he rigged it, perhaps -- that went like this:

Hitchcock was confronted by someone who said that a killer who killed three women killed the second woman after he saw Psycho. Was Hitchcock feeling guilty?

Hitchcock's reply: "And did he kill the third woman after having a glass of chocolate milk?" It was an inartful analogy, but you could see Hitchcock's point. Still, it seems he "rigged" the story("...killed the second woman...") Had Hitchcock been confronted with a killer who killed only ONE victim, and specifically after seeing Psycho...trouble.

But not THAT much trouble. Millions of people saw Psycho first run. 99% of them killed nobody. Probably more than that.

----
----

I trust not a drop of blood was shown on any Stooge at any time. It would have ruined the comedy effect.

----

I don't recall it, but I recall others showing the aftermath of something violent -- black eyes, limbs in casts, but never blood in those days.

----

That's true. "Mad Mad World" (another movie where characters are mean to each other and beat each other up) ends with a hospital room full of men with casts on their arms, in traction. But no blood.

reply

Most of the early comedy teams seem to have at least one mean character, be it the Stooges, Laurel & Hardy, or Abbott & Costello.

---

When I was a kid, I think the meanness of Abbott towards Costello, and of Moe towards the other two stooges -- disturbed me more than any violence. There was something of "the adult emotional abuser" in these mean characters, with the nicer guy walking on eggshells NOT to be verbally attacked, and the mean one 'holding off for awhile" -- and then the mean one would EXPLODE on the nicer one. An abusive dynamic.

Of course, these movies were from an era where young men were drafted for war and taught to kill by the time they were 18. Characters merely YELLING was probably good training for tougher life challenges ahead. Of war.

---

The Stooges took it to more extreme levels, though, which I suppose could be partially responsible for their longevity.

---

I think so. I think they came back big in the 60s(that's why they made some movies with "New Curlys.") and then, like I say, high school and even college cronies of mine would gather by the TV -- or at revival movie houses -- to laugh hard at the violent gags.

Memory: me, my mother, and assorted others, waiting in a long, long, ENDLESS line -- in the rain -- to get into a matinee of "The Three Stooges Meet Hercules." We ended up way in the balcony of a full, yelling house of kids. I don't remember it as a happy experience, and I WAS a kid.

reply

The meanness of Abbott toward Costello was pretty graphic in their films but definitely toned down in the TV series. A lot more absurdist wordplay and fewer slaps in the face.

reply

It's worth mentioning that The Laurel-Hardy Murder Case (1930) is available on youtube, e.g., here:
https://www.youtube.com/watch?v=EhXBqK6y9R8
Unfortunately it's in something like 1.78-1 asp. ratio not the correct 1.33-1 or 4-3/Academy ratio. If you want to see that vid. undistorted you'll have to figure out some way to download the vid. (either via a download-assist website or an extension/add-on to your browser) then watch it locally on your computer with an application like VLC that allows you to choose the desired 4-3 asp. ratio.

Update: OK, the sub-youtube, more Wild-Westy site dailymotion has The L-H Murder Case in the right asp. ratio here:
http://www.dailymotion.com/video/x26gcpa
Make sure you use the HD button to select the highest quality (480p) to watch it in, the print's a beauty (pat's self on back for finding it).

reply

It's worth mentioning that The Laurel-Hardy Murder Case (1930) is available on youtube, e.g., here:
https://www.youtube.com/watch?v=EhXBqK6y9R8

---

Thanks for both, swanstep.

"Think about it...it appears." The future is here.

Any help as to when the man in the dress with a knife shows up? Or how often?

reply

@ecarle. The whole LHMC is only 28 minutes (a 'two reeler'). We get our first close-up view of the in-drag person (i.e., so we can see that the person is in drag) about 2m 30s from the end. He shows up with the big knife (i.e., for the one and only time) about 40 secs from the end.

LHMC is a *very* crude contraption, e.g., the drag-stuff doesn't make the slightest bit of sense. The barely-sketched plot is that a relative has bumped off the Laurel family patriarch and is now killing off all the other possible inheritors including Stan who've come to the reading of the will. But the guy-in drag needs to be legitimately in the family to inherit and not feigning any new identities so the drag ploy doesn't work. There are lots of other problems too - the whole thing is really just sloppy as hell. L&H were better as silent comedians and then better again by the mid '30s with things like, e.g., Sons of the Desert once sound/dialogue etc. had all been properly worked out and settled down.

reply

The whole LHMC is only 28 minutes (a 'two reeler'). We get our first close-up view of the in-drag person (i.e., so we can see that the person is in drag) about 2m 30s from the end. He shows up with the big knife (i.e., for the one and only time) about 40 secs from the end.

---

Well, there you go. Thank you, swanstep. I just sort of want to check that out first. And the more I've thought about it, the more I am sure that I have seen the Laurel and Hardy Murder Case cited in an article(but not an original 1960 review) of Psycho.

And wasn't there a silent where Lon Chaney(Sr?) either dressed up as a woman or PLAYED a woman? The effect can be scary if the man wearing the dress does scary things.

---

LHMC is a *very* crude contraption, e.g., the drag-stuff doesn't make the slightest bit of sense. The barely-sketched plot is that a relative has bumped off the Laurel family patriarch and is now killing off all the other possible inheritors including Stan who've come to the reading of the will.

---

Stan gets killed? Why he's the original Marion Crane!

---

But the guy-in drag needs to be legitimately in the family to inherit and not feigning any new identities so the drag ploy doesn't work. There are lots of other problems too - the whole thing is really just sloppy as hell. L&H were better as silent comedians and then better again by the mid '30s with things like, e.g., Sons of the Desert once sound/dialogue etc. had all been properly worked out and settled down

--

Silent comics struggling into the sound period are a great subject. I'm not well versed on how L and H made the shift, although it occurs to me that I mainly saw their sound shorts. I recall , in the 70's, that L and H shorts were attached to some of the NEW films being shown in LA...like Woody Allen's Sleeper. Also, an elderly Groucho Marx as some sort of God in the 70's.

reply

Stan gets killed? Why he's the original Marion Crane!
No he doesn't and isn't. But both he and Ollie are targeted for death. Note that everything happens in such a rushed way as to make realistic interpretation difficult and as if to say 'Don't take this too seriously'. The final shot of the film can even be interpreted as saying that the whole old-dark-house/Scooby-Doo/inheritance main plot is a dream, but the film's not well-made enough for any real meaning to be assigned.

There's one exterior shot of the 'old dark house in the rain that isn't a million miles removed from the Psycho House.

reply

No he doesn't and isn't

Hah.

---

. But both he and Ollie are targeted for death. Note that everything happens in such a rushed way as to make realistic interpretation difficult and as if to say 'Don't take this too seriously'. The final shot of the film can even be interpreted as saying that the whole old-dark-house/Scooby-Doo/inheritance main plot is a dream, but the film's not well-made enough for any real meaning to be assigned.

---

At this point, I've got to stop wondering about this epic, I've got to watch it.

---



There's one exterior shot of the 'old dark house in the rain that isn't a million miles removed from the Psycho House.

---

A fair question: taking Manderley(which looks like a model to me) and the house in Giant out of the picture, are there many old houses in movies BEFORE Psycho to compare with the one IN Psycho?

Lord the Psycho house was dynamic. I think Hitchcock got some things just right: how the house fills the frame, the main camera angle on it, and certain "matte cloud formations" by Saul Bass in process. Not to mention, that GREAT way it looks when Arbogast climbs the hill to it. But even its "personality": the cupola, the organ-like window slits...the "frontal roof" , things I can't even describe.

And what goes on IN that house. To Arbogast above all. But also in the years before he dies there...
As Hitchocck said in his trailer, within that house, "...the most dire, horrible events took place."

reply

[deleted]

[deleted]

[deleted]

Interesting! That one little story seems to have had a lot of versions...and a lot of men in drag with a knife!

I can't imagine Hitchcock wasn't aware of it.

reply