Mad Men, Mamas’ Boys, and Murder - Ed Gein, Clouzot, and Hitchcock’s 'Psycho' : Your Halloween Horror Fix Number 4.

Wess Haubrich

ow much of the life of Wisconsin serial killer Ed Gein really squares with his fictional counterpart, ultimate mama's boy, Norman Bates? Ultimately, the genius marketing of 'Psycho' is what perpetuated the myths surrounding both. That marketing could not have been done without Hitchcock's spirited competition with a French director.

Rent the original 'Psycho' here on Amazon Prime Video. The 1998 remake really isn't worth your time unless you're wanting to learn what to avoid in making a horror film.

(Anthony Perkins as Norman Bates in 'Psycho'. Source: trailer screenshot, YouTube.)

Hollywood pushes “based on a true story” films quite often, not just in the present day with the success of movies like 1999's 'The Blair Witch Project' (rent it here) or 2007's 'Paranormal Activity' (watch it with a Showtime subscription), which were manufactured true tales, or stories faked in their “reality” by the filmmakers before the films themselves were written, made, and released.

Real “true story” films, made with some sort of input from an existing historical tale or anecdote, has been around for some time, likely since 1899’s 'Major Wilson’s Last Stand', a short war film dramatizing the deaths of Major Allan Wilson and his men in final engagement of the Shanghai Patrol in Rhodesia in 1893.

Many films that advertise that they are “based upon actual events” are only loosely based upon them, sometimes to absurd extremes. 1984's 'A Nightmare on Elm Street' (stream it here on Shudder), for instance, was technically “based on actual events” only in so far as a rash of otherwise healthy people dying in their nightmares for no apparent reason — see the LA Times articles which inspired Craven in this Reddit subthread — inspired the creatives to make up, then elaborate on, the story of Freddy Kreuger.

( Screen L- Bates family mansion in 'Psycho'. Sceen R- Its inspiration Edward
Hopper's “House by the Railroad” 1925 2'0" x 2'5" oil on canvas, MoMA.)

(The Gein homestead just outside of Plainfield, WI before it burnt down under
mysterious circumstances after the discovery of Gein's crimes in 1957. Source:
Creative Commons.)

'Psycho' and its underlying historical catalyst helped spawn multiple horror pieces that ultimately became very successful franchises.

Tobe Hooper's brilliant, low budget 1974 slasher flick 'The Texas Chainsaw Massacre'' (rent it here on Prime), with its chainsaw wielding maniac Leatherface owes much of his character to Norman Bates (Anthony Perkins) in 'Psycho'.

Dr. Loomis (Donald Pleasence) in John Carpenter's 'Halloween' (the original can be rented here on Prime Video) owes his name to Marion Crane’s (Janet Leigh) lover in 'Psycho', played by John Gavin.

Buffalo Bill (Ted Levine) in 'The Silence of the Lambs' (stream it here on Netflix) owes much of his character to Norman Bates. Bill is probably the most historically and psychologically accurate of all, in light of what we know about the actual historical catalyst behind the movie serial killer.

All of these movies, to a large degree, owe the respective pathologies of their various madmen to both Norman Bates in Psycho, and the historical catalyst that helped develop the Bates character in the Robert Bloch novel upon which the movie itself is based: schizophrenic Wisconsin grave robber and serial murderer Ed Gein.

Hitchcock bought the rights to Bloch’s novel anonymously for just $9,000.00 and also bought every copy that he could get his hands on: control of information was a big part of the key to Psycho’s initial success.

The story of 'Psycho' is indeed ubiquitious. Therefore, this article will not focus on it: but will instead look at the film itself, parallels between Gein and Bates, and their differences.

( Ed Gein circa 1955. He was known as “The Butcher of Plainfield”, and “The Ghoul of

Plainfield" Source: Creative Commons.)

(Hitchcock’s cinematic wiles: This is the still of Norman towards the film's end, slowed
down to show Hitchcock’s use of a subliminal exposure of the skeleton of Mother
Bates appearing as an exposure under Norman’s on the film.)

Ed Gein grew up on an isolated farm near Planfield, Wisconsin with a abusive, alcoholic, father, and a very domineering, religious zealot, of a mother. Augusta Gein, in fact, moved the family to their Plainfield homestead to shield both her boys from the outside world (they only left the farm to attend school). After the passing of Ed’s father (and later his older brother, more on that below), it was just Ed and Augusta on the farm. It is for this reason that many Gein scholars call the farm a factory for madness.

It was after Augusta’s death in 1945 that Gein began losing his already tenuous grip on reality.

The paranoid schizophrenia he would later be diagnosed with likely manifesting itself more fully around this time. Gein ultimately murdered at least two women, and pillaged the graves of many others in the hopes of weaving himself a “woman suit” from their skin — an exact similarity to Leatherface in 'Texas Chainsaw' and Buffalo Bill in 'Silence of the Lambs'.

This is not a huge departure from 'Psycho': Bates, as mother, killed to reconcile a guilt complex that was intimately intertwined with his sexuality. Gein killed and robbed graves partially for sex as well (he was a necrophiliac), yet his main motivation he very much shared with Norman: preserving mother in some way.

( Norman Bates (Anthony Perkins) in drag as Mother Bates.)

Gein is distinctly different in character from Norman Bates in further ways.

First, Bates is a fairly young guy (maybe in his late 20’s) in 'Psycho', Gein, in contrast, was in his late 40’s when he began killing and robbing graves. Hitchcock (and likely Bloch) thought making him younger would increase the distinct level of tension in 'Psycho.'

Second, Gein did not murder his mother, like Bates did in the film. There has been, however, many questions surrounding Gein’s brother’s suspicious death on their farm during a brush fire he was fighting with Ed.

( Mother Bates (Norman in drag) in the shower scene where Hitchcock built a 6 foot
diameter shower head to get the scale he wanted for the shoot. Yet, perhaps what
sticks out most is Bernard Herrmann’s frenetic stringed instrument only score:
Hitchcock doubled his salary after he realized the importance of it, saying “the score was 33% of Psycho’s final effect.” Courtesy of Fandango Movie Clips on Youtube.)

( The end of the infamous and pivotal “shower scene.” Belladonna droplets were put in
Janet Leigh’s eyes to keep her pupils dilated — just like an actual corpse.)

It is important in looking at “based on a true story” films, to not necessarily judge the film itself on how faithful the filmmaker is to the real story that inspired it, but rather how well the filmmaker tells the story he is presenting — just as in any film.

Hitchcock chose to tell 'Psycho' in a number of innovative ways as the story arc of the film itself had never really been attempted in Hollywood. It was for this reason that he chose to go with monochrome versus Technicolor: he literally did not know how the huge amount of blood — actually Hershey’s syrup — in 'Psycho' would play.

Hitchcock also wanted to experiment to see what would happen if he did an exceptionally executed black and white movie, because black and white, poorly made B-Movies were doing so well at the box office. 'Psycho' is, in essence, high art in B-Movie drag (pardon the pun).

Hitchcock knew he had a hit on his hands. It was for this reason that he decided to forego his usual $250,0\0.00 salary in lieu of sharing profits on the film. This move earned him about $15 million as he took many other avenues to cut costs, like retaining much of the crew he used on the television side of what he did.

Hitchcock knew he had a hit on his hands. It was for this reason that he decided to forego his usual $250,000.00 salary in lieu of sharing profits on the film. This move earned him about $15 million as he took many other avenues to cut costs, like retaining much of the crew he used on the TV side with 'Alfred Hitchcock Presents.'

(One example of the marketing for 'Psycho'. This poster would be hung in theaters
playing the film.)

( Another poster every theater playing 'Psycho' would get. This again points to
Hitchcock controlling the flow of information.)

The marketing of 'Psycho' was also a gigantic part of its initial success because it all drove home the fact that any details or information about the movie’s narrative needed to be tightly controlled.

Many of these techniques were borrowed from Hitchcock’s one time rival, French Master of Suspense Henri-Georges Clouzot in his marketing of 1955’s 'Diabolique'. Hitchcock was in fierce competition with Clouzot to buy the rights to the novel that ultimately became 'Diabolique', Pierre Boileau and Thomas Narcejac's 1952 thriller "Celle qui n'était plus" ("She Who Was No More.")

Clouzot of course won that battle. Hitchcock would not be outdone though. The source novel for his magnum opus, 1958's 'Vertigo', was also a thriller written by Boileau-Narcejac in 1954: "D'entre les Morts" ("From Among the Dead.")

The original 1955 'Diabolique' is my favorite thriller not in the English language - which is a tall order when you're a cinephile who loves well-executed thriller and horror pieces and watches a lot pf overseas cinema. It is an incredible cinematic experience I cannot recommend enough for fans of intelligent psychological terror. HBO Max has it streaming at this link.

Hitchcock borrowed more than a few techniques from his French counterpart. He did not, for instance, tell his cast the film’s ending until very close to when he shot it, when he gave them that part of the script.

He also swore them all to secrecy (literally) before he began filming. Every theater showing 'Psycho' also had a cardboard cut-out of Hitchcock (like the ones pictured above) with the following message to the audience: “The manager of this theatre has been instructed at the risk of his life, not to admit to the theatre any persons after the picture starts. Any spurious attempts to enter by side doors, fire escapes or ventilating shafts will be met by force. The entire objective of this extraordinary policy, of course, is to help you enjoy Psycho more. Alfred Hitchcock.”

All this, combined with artful storytelling, combined to deliver one hell of a cinematic punch that stands the test of time, 60 years after its conception in 'Psycho.'

( Hitchcock had Janet Leigh in a white bra early on to accentuate her innocence (her
purse color was also white for this reason). After the macguffin (the $40,000) rears its
head and she steals it, her lingerie and purse become black to accentuate her slide
into immorality.)

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Former editor, now dogged-maverick journalist and researcher covering the crime beat. I examine the weird, absurd, and downright infamous in American crime both here and at Real Monsters podcast. Contact:


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