segunda-feira, outubro 04, 2004
[1.131/2004]
A shadow slowly approaches, then a hand swiftly throws open the curtain. Marion turns and sees the backlit figure of a woman with a large bread knife in her raised hand. Marion screams.
44 anos depois das facadas que Alfred Hitchcock lhe mandou disferir no Bates Motel quando rodava Psiyco, Marion Craine, aliás, Janet Leight, morreu.
O Tugir em português não poderia deixar de recordar a actriz que lhe gravou na memória um dos momentos mais marcantes do suspense da sua meninice.
"Norman:
Crane. That's it.
Marion:
Good night. (She leaves.)
Norman goes out to the guest register on the office counter. He takes a piece of candy from his pocket and eats it. He slides the book around to face him and reads her signature: 'Marie Samuels.' He smiles, then goes back into the parlor.
He walks over to the far wall and stands very still, listening. A stuffed pheasant sits in front of him. The owl, wings spread for take off, hovers above his head. The lamp lights the owl and Norman's face from below. He lifts a framed picture off the wall, revealing a section of wallboard torn away and a peephole drilled through the wall of the adjoining room. He peers closely into the hole, which provides a view of Marion's bathroom, where she is disrobing.
After a moment, Norman stands away from the wall, turns his head in the direction of the house--an indignant expression on his face. Then, with determined jaw, he struts out and up toward the house. He storms through the front door, but halts at the foot of the staircase, turns away, and slinks down the hallway to the kitchen, where he flops into a seat at the table. From the distance we watch him sulk.
In her cabin, Marion, wearing a glossy robe, is seated at the desk with pencil, paper, and bankbook. She is calculating the amount of the stolen money she spent and must replace. She tears up the slip of paper and is about to toss it into the wastebasket, but thinks better of it and takes it into the bathroom where she flushes it down the toilet. She then closes the door, removes her robe, and steps into the bathtub. She draws the shower curtain closed and unwraps a bar of soap.
She turns on the shower.
As she is showering, through the translucent shower curtain we see the door open.
A shadow slowly approaches, then a hand swiftly throws open the curtain. Marion turns and sees the backlit figure of a woman with a large bread knife in her raised hand. Marion screams.
The woman stabs Marion repeatedly.
Naked, defenseless, and in shock, Marion screams while trying to ward off the assault with her arms. But the attack is relentless. The scene is intensified by searing background music that seems to slash and scream.
Abruptly the onslaught ends and the woman exits. Marion silently sinks downward against the wall. Her hand reaches forward to grab the shower curtain. The hooks pop and snap off the bar as her falling weight tears the curtain loose. She lands head first on the tile floor, half her body hanging on the tub.
The water continues to run, as if trying to clean up the blood-streaked tub. We are drawn along with the tainted liquid as it swirls down the drain. We would follow it down into blackness, but a large glaring eye stops us. It is the superimposed, unblinking eye of the slain woman, as still as a photograph, except for the droplets from her hair that fall past as we pan back, slowly turning our diagonal view upright, to see her full face pressed against the bathroom floor.
The camera leads us out of the bathroom, across the bedroom, past the folded newspaper under the lit lamp, to the open window and the house beyond.
We hear a distant cry...
Norman:
Mother! Oh God! Mother! Blood! Blood!"
LNT
11:42:00 da tarde 
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