Ever since the agricultural revolution, society has adapted set “gender roles” by which everyone is supposed to abide. Simply put, men are supposed to be dominant, strong, decisive, and assertive. They must be able to provide for the family financially while also carrying a noncommittal air. Women, on the other hand, must be frail and demure; they are to loyal and faithful, always waiting for the husband with dinner on the table when he comes home from work. They most certainly are not to take on the role of a femme fatale. In correlation, just as men and women are supposed to act a certain way, they are also expected to have certain wants from life. Men have more flexibility in their desires as they can range from a lustful relationship with multiple women to settling down with the right woman. In contrast, women are expected to want the domestic life: settle down with a man, have children, and stay in the home for the rest of her life. Alfred Hitchcock’s 1960 film, Psycho challenge these stereotypes through the use of characterization.

Almost immediately at the beginning of the film, the audience is presented with a projection of male supremacy over a female as Marion lays in a submissive position with Sam looming over her in dominance. The medium camera shot depicts Marion lying on the bed and Sam’s torso. Viewers are not only presented with the characters, but the roles they represent. On the outside, Marion seems to be the picture of femininity: supposedly innocent, passive, and capable of being controlled. Likewise, Sam is the typical male: good-looking, strong, and capable of controlling the woman he desires. However, the feminine role is immediately challenged as Marion becomes more assertive in her actions. In contrast to her submissive behavior that had been implied by the opening scene, she is dominating in her embezzling and running away. Nonetheless, there is an inner conflict between the two gender roles within her as is suggested by the music of her conscious. While she may want to take on the stronger male persona, whenever she commits an act against the female nature, the screeching violins sound, insinuating not only her guilt but her feminine side attempting to regain control.

In a similar fashion, Norman Bates represents the conflict of femininity and masculinity within a male, contrasting with the strength of Sam. When the audience is first presented with Norman, there is the impression that he is uncomfortable with being assertive. He has trouble effectively undergoing the check-in process; almost as though he would much rather have someone else do it for him. His discomfort with being in power is further presented by Marion’s ease to take control of their conversation during dinner. Despite the difficulty she had with being “masculine” in front of other truly masculine figures—seeing as how she becomes nervous and uncomfortable with the new persona in front of the police officer and the car dealer—with Norman it is simple since he also has trouble embracing masculinity. Nonetheless, he continues to pursue it as shown by his peeping. As the audience gets Norman’s point of view through peephole, there is also a connection between masculinity and sexuality.

Throughout the film, sexuality has been presented as a demonstration of domination between a man and a woman. When Norman peeps on Marion, he insinuates his dominance in their relationship as she has no idea of his actions, thus rendering her weak and unable to stop him. His masculinity is further presented when he murders her in the shower. However, his repression and denial—almost feminine attribute—overpower this as his psyche blames his mother, forgetting that it was own two hands that committed the crime.

But my question to an audience is whether these roles are also reflected in What You See in the Dark? Many themes and motifs presented in the film–such as voyeurism and mirrors–are already reflected in the novel, is this another one?