What Is Hitchcock's Psycho American Dream

Hitchcock’s Psycho (1960) remains a caveat to the Americans chasing the American dream. He presents the fruitless chase of American dream by Sam Loomis (John Gavin) cannot marry Marion Crane (Janet Leigh) because of his financial difficulties. In order to lead an ‘American life’ in the suburbs they need money. The aspirations, desires everything ends in tragedy for both. For Norman Bates (Anthony Perkins) also the idealised figure of mother crumples down from its edifice and hence the exaggerated momism. In the first part of the film Marion’s touching desire is established earlier in the first half of the film itself resembling a melodrama of the 1950s and the unmarried Marion’s desires and dreams can be equated with that of Carrie in All That Heaven Allows (1955) directed by Douglas Sirk. Cynthia Erb
Psycho (1960), is a vehement statement on American dream that turned to a nightmare. Hitchcock is trying to drive home the truth that physical visions is always only partial and our perceptions can be deceptive. That is why Hitchcock’s insistence of his ideology from the opening shot on staring eyes that become finally empty, blank and dead (Spoto 314). Hitchcock also proclaims that facile components can play us false. In Dial M for Murder (1954) also we can see a man’s attempt to be rich and prosper by any means. He skilfully contrives his wife’s murder and he tries to accomplish it with a hired murderer. Husband himself masterminds the whole situation to achieve his wife’s money through unlawful means. He also chases an American dream but without success. In Rear Window (1954) Lars Thorwald (Raymond Burr), a travelling salesman and the supposed murderer epitomizes both the belief in the economic transaction and the conviction in the movement that modernity brings. It is evident from his frustration that stems directly from his position in the economic hierarchy not as a giant as his physique suggest but as a mere salesman, aspiring to