Quentin Tarantino has expressed a unique opinion on the Psycho series, revealing that he prefers the sequel, Psycho II, and the 1998 remake directed by Gus Van Sant over Alfred Hitchcock’s original 1960 film. Known for being a discerning cinephile unafraid to share controversial views, Tarantino has openly criticized Hitchcock’s celebrated horror thriller, despite its iconic status in film history. His preference for the later entries in the Psycho franchise highlights his evolving appreciation of the story in different cinematic contexts.
The legacy of Psycho extends well beyond Hitchcock’s original work. Shortly after Hitchcock’s death in 1980, the franchise was revived with Psycho II, directed by Richard Franklin, dubbed the Australian Hitchcock. Released in 1983, Psycho II earned respectable reviews and box office returns and has grown in reputation since. The sequel follows Norman Bates, played once again by Anthony Perkins, who is released from a mental institution two decades after the infamous murder in the Bates Motel shower. The story explores Norman’s struggle to reintegrate into society, challenged by the suspicions of Lila Loomis (Vera Miles), Marion Crane’s sister from the original film.
Following Psycho II, the series continued with Psycho III in 1986, directed by Perkins himself, but it did not achieve the same level of success. Psycho IV: The Beginning (1990) served as a prequel, exploring Norman’s backstory through flashbacks, featuring Olivia Hussey and Henry Thomas as the younger versions of Mother and Norman. Gus Van Sant’s 1998 remake recreated the original film shot-for-shot in color, polarizing audiences and critics alike. Other adaptations include the unsanctioned 1987 Bates Motel TV pilot without Perkins and the AMC series Bates Motel (2013-2017), which reimagined Norman Bates’s origins for contemporary viewers.
Exploring Tarantino’s Relationship with Hitchcock’s Work
Despite Hitchcock’s influence on cinema, Tarantino has admitted to feeling only lukewarm towards the director and his films. On a 2021 episode of Eli Roth’s History of Horror podcast, Tarantino shared that Hitchcock was somewhat limited by the era in which he worked, particularly regarding themes of violence and sexuality. He said,
“I think he was held back by the times that he worked,”
and noted his tendency to dislike the endings of Hitchcock’s films because they “oftentimes… peter out.” Tarantino suggested that if Hitchcock had been making movies in the 1970s, his work might have been appreciated differently.
Tarantino also examined how reverence for Hitchcock influenced perceptions of Psycho II. He pointed out,
“Richard Franklin had everything going against him when he did the Psycho II sequel, because in a strange way, back in that time in the ’80s, Psycho was even more revered than it is now, and Hitchcock was definitely more revered than he is now. By the ’80s, Hitchcock was treated like some sort of cinematic saint.”
In a conversation with writer Bret Easton Ellis, Tarantino further clarified his stance on Hitchcock’s films:
“I’m not the biggest Hitchcock fan and I actually don’t like Vertigo and his 1950s movies — they have the stink of the ’50s which is similar to the stink of the ’80s,”
he said.
“People discover North by Northwest at 22 and think it’s wonderful when actually it’s a very mediocre movie. I’ve always felt that Hitchcock’s acolytes took his cinematic and story ideas further. I love Brian De Palma’s Hitchcock movies. I love Richard Franklin’s and Curtis Hanson’s Hitchcock meditations. I prefer those to actual Hitchcock.”
What Makes Psycho II Stand Out to Tarantino
Richard Franklin’s work on Psycho II holds particular significance for Tarantino, who admired Franklin’s earlier film Roadgames and considered it his favorite Australian movie. Tarantino recalled meeting Franklin during the production of Psycho II and discussing the director’s vision for the film. Franklin explained,
“People are going to say whatever they’re going to say, but, hopefully, when they see the movie, they’ll feel different,”
and expressed the hope that years later, audiences would remember scenes but not necessarily distinguish which Psycho film they belonged to, because
“it’s all the Norman Bates story.”
Tarantino praised the emotional complexity of Psycho II, especially how the film encourages viewers to empathize with Norman Bates as he attempts to regain control of his life, stating that it makes you
“root for Norman to keep it together.”
He added,
“You’re actually rooting for him to be happy, and now you don’t want any of the horror stuff to happen.”
Nevertheless, the film delivers on the horror with brutal moments, including a knife-through-the-throat death and a chilling ending that reestablishes the Bates Motel as a place shrouded in menace.
Beyond Psycho II, Tarantino has been vocal about his defense of Gus Van Sant’s 1998 remake, often countering its harsh criticism. The remake has been shown in 35mm at his New Beverly Cinema in Los Angeles, reflecting his continued interest in varied interpretations of the Psycho narrative.
