Richard Brody, Saul Bellow, Film Critic
Article paru dans le New Yorker, mai 2015.
"(...) One of Bellow’s prime examples is “Psycho,” in which the medical aspect of Norman Bates’s character intrudes on the “tried and true Grand Guignol”: “Our murderer is the victim of an unhealthy Oedipal love. … A psychiatrist invites us to view the murderer as a clinical subject; there are no more punishments, only explanations.” The political implications that Bellow sees in considering crime a disease rather than a moral failing extend further, to Hollywood’s very view of America: “Young [Anthony] Perkins is even shown as a wholesome, winsome, sincere-looking American youth—a type that Hollywood has taught us to mistrust. There are no handsome, winsome Johnnies anymore: Their corruption has been exposed to our insight.” (...)"
Lire l'article dans son intégralité