Show eP£ v v IN STEP WITH: k BY JAMES BRADY IM 4 BOW: 1932 scary”OverseasPjycfcV wiQ play in movie theaters hNHrliMfcG Psycho IV: The Beginning takes ui back in time to when Normin wac just pop played in this film by Hemy Inoraas the young starofET Perkins plays the grownup Norman Mother die was mummified 1 assume— is portrayed by a lovely actress who burst into stardom years ago in Romeo and Juliet f3tVr' — fongbeibre J?£y3 'i (I ip OlhriaHussey 1990 5M Cafc-2197- 0 1999 rmimi © 1974if!grii4 ittiihychoH 1954 1957 1990 IKt £fft t ff 4 1975 1979 ''V Tboy’s sons ages 14 and 16 are now “old enough to seetefihnT he added "But you've got tobe careful with riiilAwv I'm Mine Hitchcock would have been unhappy for many of his films ever to be seen by children" r Psycho IV was made in Florida “They film in Florida these days because you can make pictures there cheaper" ftskins explained "Ana for this one they had to recreate the Bates man- Send the kids to bed early Anthony Perkinsis back once more as Norman BateSf in : a new and scaiy Psycho on IV c sion as it looked before Flor' ' ida’s a state and you can get people to work longer hours You can cut aJiew comers” While younger audiences think of Tony as that homicidal weirdo “Norman Bates" there’s much more to the man And to the actor His fothen Osgood MdnS a distinguished stage actor died when Tbny was S When he was 21 and at Rollins College in Florida Feridns hitchhiked to Hollywood to test for a right-to-wo- rk a SSSsSSs ET AGAIN ANTHONY PERKINS IS doing business as "Nonnan Bates” scaring us into cold sweats in Showtime's Psycho IV The show has aired several times in die last month and can be seen again this Tbesday "This one which they’re calling ‘a prequel’ an expression I hate is really vdifferent”Hakins told me from Ins oceanfront home in New England when we spoke recently ‘'The Psycho canvas is very small and it always should be It’s a small neurotic story and that’s what makes it so effectively sudiaZZZT' college Feridns was summoned He'd won the role Then came Broadway as the lead in followed by the sweetly mov ing Friendly Persuasion with Gary Cooper Hearing how Tbny talks of Coop demonstrates two things— his affection for the man and his own impressive mastery of language: "When ' walked on a set the technicians stopped The hammers stopped hammering Not because he demanded it but in tribute Cooper was die model for a gentleman actor for the star—the modesty of behavior the elegance of carnage die aristocratic bearing" fl I 12 |