78/52 = 10

No, the above equation isn’t a math mistake, but an acknowledgment of the sheer perfection of writer/director Alexander O. Philippe’s documentary 78/52: Hitchcock’s Shower Scene.

“78/52” refers to the number of shots/cuts employed in the filming of the iconic demise of Marion Crane in Psycho, and also serves as an early indication of the documentary’s precise approach. While viewers might already be aware of some of the fun facts (Hitchcock’s use of Hershey’s chocolate syrup to simulate blood; the faintest twitch of actress Janet Leigh’s eye as the camera pulls back from Marion’s sprawled corpse), they are sure to learn plenty of new details about the shower scene. This reviewer, for instance, never knew that pin-up model Marli Renfro stunt-doubled for Janet Leigh, that the knifing of a casaba melon and a slab of raw meat furnished the flesh-stabbing sound effect, or that the scene even had a direct impact on Martin Scorsese’s Raging Bull.

The actual footage from the shower scene is invoked throughout, but the documentary also features clips from a whole host of films as it establishes Psycho‘s immediate cinematic context and perennially pervasive influence. A couple of neat bonuses also come in the form of an opening reenactment of Marion’s rain-drenched arrival at the Bates Motel, and a dramatization of the shower scene as it plays out (slightly differently, but no less hauntingly) in Robert Bloch’s original novel.

The heart of 78/52, though, is found in its slew of talking heads. An impressive number of actors (including Janet Leigh’s own daughter Jamie Lee Curtis), directors, authors, and film critics not only testify to the personal impact of the shower scene but also provide extended, insightful analysis of what makes it so effective both visually and aurally. Their commentary brilliantly elucidates various aspects of Psycho, from the meticulous foreshadowing of the shower scene via both dialogue and imagery (e.g. the slashing of the windshield wipers prior to Marion’s ill-fated stop off) to the subtle but poignant symbolism (the specific painting that Norman removes from the wall of his office when peeping on Marion’s showering takes voyeurism as its very theme).

Ultimately, Philippe’s documentary convinces viewers what a true auteur Alfred Hitchcock was–the deliberate artistry Psycho‘s director brought to the filming of the shower scene (which took a whole week to shoot). At once finely detailed and highly entertaining, 78/52 offers an appropriate appreciation of one of the most seminal and memorable scenes in the history of film.

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