"Singin' in the Rain," "Sunset Boulevard," and "Psycho"
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This paper discusses how all three films have a kind of unified structure, beginning and ending with the same images and how these repeated images reinforce the focus upon filmmaking, death, and possession in "Singin' in the Rain," "Sunset Boulevard," and "Psycho," respectively. The paper also looks at how these images are repeated with a difference to show the displacement of the old Hollywood, the eradication of new dreams of filmmaking success, and a displacement of freedom and flight with incarceration.
From the Paper:""Psycho," like "Sunset Boulevard," ends with an image of the character that has thoroughly unraveled. While the image of the young Joe Gillis opens "Sunset Boulevard," the image of the insane, older Norma closes the tale, and in "Psycho," the image of the sane Marion Crane opens the film, while the image of her murderer, Norman Bates, closes the film. Even more so than the domineering Norma, Norman Bates takes over the narrative of "Psycho," transforming it into what should have been Marion's tale of liberation and escape into a story of her murder. Likewise, what should have been a story of Joe's success in Hollywood instead becomes a story about Norma, even though Joe is a professional screenwriter."
Sample of Sources Used:
- "Psycho." Directed by Alfred Hitchcock. 1960.
- "Singin' in the Rain." Directed by Stanley Donan and Gene Kelley. 1952.
- "Sunset Boulevard." Directed by Billy Wilder. 1950.
Cite this Film Review:
"Singin' in the Rain," "Sunset Boulevard," and "Psycho" (2009, June 10) Retrieved December 08, 2021, from https://www.academon.com/film-review/singin-in-the-rain-sunset-boulevard-and-psycho-114495/
""Singin' in the Rain," "Sunset Boulevard," and "Psycho"" 10 June 2009. Web. 08 December. 2021. <https://www.academon.com/film-review/singin-in-the-rain-sunset-boulevard-and-psycho-114495/>