Quentin Tarantino has stirred conversation within the film community by expressing a preference for both the sequel and the remake of the iconic slasher film Psycho over Alfred Hitchcock’s original 1960 classic. On multiple occasions, Tarantino has openly shared his mixed feelings regarding Hitchcock’s contributions to cinema, particularly the groundbreaking horror thriller that has long been considered a genre-defining work.
In a 2021 episode of Eli Roth’s History of Horror podcast, Tarantino elaborated on his critiques, stating, “I think he was held back by the times that he worked.” He noted that he often finds Hitchcock’s third acts lacking, suggesting that had Hitchcock been active during the more liberated cinematic environment of the 1970s and 1980s, he might have held a different regard for the filmmaker’s work. Tarantino specifically highlighted his admiration for Richard Franklin’s 1983 sequel, Psycho II, which was released just three years after Hitchcock’s death.
Psycho II, featuring Anthony Perkins reprising his role as Norman Bates, offers a narrative that explores the character’s attempts at reintegration into society following his release from a mental institution. The film received positive reviews upon its release and has since garnered a reputation that emphasizes its unique take on the original story. Tarantino appreciates how the sequel presents a “fascinating journey” for Norman, contrasting with Hitchcock’s work by allowing the audience to root for his character’s redemption.
Hitchcock’s original Psycho, based on Robert Bloch’s 1959 novel, is noted for its groundbreaking portrayal of violence and sexual suggestion, which played a significant role in challenging Hollywood’s censorship norms. Despite this, Tarantino has consistently expressed that he is “not the biggest Hitchcock fan.” He elaborated that many of Hitchcock’s followers have expanded on his cinematic ideas in ways that resonate more with contemporary audiences.
Tarantino’s support extends beyond Psycho II to Gus Van Sant’s controversial 1998 shot-for-shot remake of the original film. Despite the backlash the remake received, Tarantino has defended it, even screening it at his Los Angeles revival house, the New Beverly Cinema. In an interview with writer Bret Easton Ellis, he remarked on the value of the remake, stating that it allows for a new generation to engage with the story.
In addition to the sequels, the Psycho franchise has seen various adaptations and reinterpretations over the years. The 1986 film Psycho III, directed by Perkins himself, and the 1990 prequel Psycho IV: The Beginning, showcased different aspects of the Bates narrative. The television landscape also embraced the story, with the 2013-2017 series Bates Motel offering a modern reimagining of Norman Bates’s life.
Tarantino’s reflections on Hitchcock and the Psycho franchise reveal a broader discourse on how sequels and remakes can provide fresh perspectives on established narratives. His arguments highlight a divide between traditional cinematic reverence and the evolving appreciation of storytelling in contemporary film. As the film industry continues to explore classic stories through new lenses, Tarantino’s insights offer a compelling viewpoint on the merits of both innovation and homage in filmmaking.
