The most famous murder scene in movie history comprises 78 camera settings and 52 cuts: the shower scene in Alfred Hitchcock's Psycho. 78/52 tells the story of the man behind the curtain and his greatest obsession.


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  • ★★★★ review by Chris Genro on Letterboxd

    If you are a Psycho uber fan like me then a film like this is heaven. I enjoyed this documentary tremendously but was dissapointed because it's scope was very limited. It very much focuses on filmmaking process and what influenced Hitchcock and how the shower scene influenced films after it. So really unless you are a cinefile I could really see this being extremely boring. But for me the Psycho nut I'm giving this 4/5 stars!

  • ★★★½ review by Caitlin on Letterboxd

    this was Good and the director was there which was Cool and he did a q&a afterwards and that was Nice but enough is enough. I must speak my truth. I would like to know what business Norman Bates had being that hot

  • ★★★★ review by Allison M. on Letterboxd

    Pretty good documentary that explores the "shower scene" in Hitchcock's Psycho within the context of his films and others'.

    There were a ton of things I hadn't thought of before, including the fight scene in Raging Bull was staged like the shower scene in Psycho.

    Really, you have people from Peter Bogdanovitch to Elijah Wood talking about the scene as well as the editor from the Psycho remake.

    Overall, a great film for anyone remotely interested in Hitchcock or Psycho.

    Vegan POV: a non meat eater describes how they stabbed a raw steak as well as melons combining both to create the sound effects for the shower scene. The non meat eater said it made him feel nauseous to talk about.

  • ★★★½ review by Matt Singer on Letterboxd

    Prepare to be drowned in Psycho minutia. Full review at ScreenCrush.

  • ★★★½ review by Channing Pomeroy on Letterboxd

    When I was in high school in the '80s and knew nothing about movies, my best friend's father was a huge movie buff with and insane collection of old Hollywood movies that he'd timer-recorded and library shelved with their titles scribbled on the spines in ballpoint. When were still too young to drive, much less date, on the weekends my friend's father would pop in one of these "old movies," and we'd all watch it. I distinctly remember the time he suggested Psycho, and we said something like "meh." We'd seen it before; it was OK but it wasn't as scary as Halloween and Friday the 13th.

    With that he put the movie in and proceeded to explain to us in detail why this was revolutionary and important. It was the my first film lecture, his personal version of 78/52. I was enthralled and that night he sent me home with his dog-eared copy of Truffaut's Hitchcock. It was that night that I date as the beginning of my real love of film.

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