Introduction
In Alfred Hitchcock’s “Psycho” and William Faulkner’s “A Rose for Emily,” the characters mask their true natures, highlighting the importance of authenticity. Ultimately, their deception leads them down a path of violence and tragedy.
Masks of Madness in Hitchcock’s “Psycho”
In “Psycho,” Norman Bates masks his true nature with a cloak of politeness and hospitality. As he welcomes Marion Crane, he says, “Oh, we have 12 vacancies, 12 cabins, 12 vacancies” (Hitchcock). He further claims, “I’m as harmless as one of those stuffed birds” (Hitchcock). Film critic Steven Lynn (49) notes that “Hitchcock’s genius was to make us feel sympathy for Bates, even as we fear him.”
Denial and Decay in Faulkner’s “A Rose for Emily”
In “A Rose for Emily,” Emily masks her true nature with an upper-class cloak and a denial of reality. The narrator describes Emily’s refusal to allow the town ladies to assist her with her cooking, saying, “Just as if a man—any man—could keep a kitchen properly, the ladies said” (Faulkner). The narrator also reflects on Emily’s relationship with Homer, stating, “We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will” (Faulkner).
Emily’s refusal to acknowledge the changes in her life leads to her entombment, both literally and figuratively (Lynn et al. 49). According to literary critic Berliner Todd (105), Emily’s refusal to face reality is “a form of self-protection, and her neighbors respect this refusal as a form of the will to live.”
Authenticity as a Moral Imperative
The importance of authenticity in both texts is evident. In “Psycho,” Marion Crane reflects on her theft of the money, stating, “I’m not capable of being fooled that easily, no matter how much I love the fooling” (Hitchcock). In “A Rose for Emily,” the narrator describes the town’s relationship with Emily, noting, “She had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town” (Faulkner).
The price of inauthenticity is steep, and both Emily and Norman pay it with their lives. Literary critic Berliner Todd (105) argues that the characters’ “deviations from their true selves” contribute to their tragic ends. The perils of concealing one’s true identity and refusing to confront personal issues can lead to devastating consequences, as evidenced by the actions of the characters in both “Psycho” and “A Rose for Emily.” Norman Bates, grappling with a fractured psyche, admits, “We all go a little mad sometimes” (Hitchcock, 1960).
Similarly, the gruesome discovery of Homer Barron’s corpse reveals the disturbing consequences of Emily’s denial, as the narrator recounts, “For a long while, we just stood there looking down at the profound and fleshless grin” (Faulkner). These powerful narratives serve as stark warnings, urging readers to recognize the immense toll that living a lie can have on individuals and those around them.
Conclusion
In conclusion, both Alfred Hitchcock’s “Psycho” and William Faulkner’s “A Rose for Emily” underscore the crucial significance of acknowledging and accepting our true selves, as well as the necessity of seeking help when we are faced with personal struggles. By doing so, we can avert the potential descent into a destructive cycle of violence and tragedy that may result from living a life of deception and denial. These powerful stories serve as reminders that embracing authenticity and reaching out for support are essential steps in maintaining a healthy and fulfilling life.
Works Cited
Berliner, Todd. “Expect the Unexpected: Psycho and the Types of Planting and Payoff.” Style, vol. 53, no. 1, 2019, p. 105., Web.
Faulkner, William. “A Rose for Emily.” Web.
Hitchcock, Alfred, director. Psycho. Paramount Pictures, 1960. Netflix, Web.
Lynn, Steven Jay, et al. “Dissociation and Dissociative Disorders: Challenging Conventional Wisdom.” Current Directions in Psychological Science, vol. 21, no. 1, 2012, pp. 48–53. JSTOR, Web.