While Freddie Highmore’s big screen credits (Finding Neverland, Charlie and the Chocolate Factory, Arthur and the Invisibles, The Spiderwick Chronicles) have harnessed his inner child, he has been forced to relinquish that jollity to inhabit the role of Norman Bates in the commendable prequel TV translation of Aflred Hitchcock’s 1960 magnum opus, Psycho. Debashine Thangevelo looks at how the British actor has owned this character as he succumbs to menacing darkness in season two.
LIKE the countless novels out there, movies have triggered the imagination of TV show creators to extend its magnetism for a longer stretch.
And we have seen offerings pop up across genres like Bad Teacher, Teen Wolf, Fargo and Marvel Agents of S.H.I.E.L.D. Agent Carter, as examples. While some are slated, others seem to placate fans.
Hannibal is a case in point. While the psychological thriller got off to a spellbinding first season, the gore and cannibalism in the second instalment started meandering towards unappetising for some. Of course, Bryan Fuller’s series, with characters fleshed out of Thomas Harris’ Red Dragon novel, continues to flourish, with a third instalment in the making.
This brings us to Bates Motel, which is a modern-day prequel to the events that unfolded in Alred Hitchcock’s Psycho.
Creators Carlton Cuse, Kerry Ehrin and Anthony Cipriano hit gold with their crafting of creepy plots, and the casting, especially that of Vera Farmiga (Norma Louise Bates) and Freddie Highmore (Norman Bates).
Bates Motel is probably the best thing to happen to Highmore.
The 22-year-old British actor’s versatility has not only attracted attention, it has pushed his acting to another level. And he plays up that whole innocent expression so masterfully, especially in concealing the menacing darkness within.
Season one set the tone for the follow-on. We saw Norman transform from a pretty ordinary teenage boy crushing on girls and rebelling to someone who starts having sinister thoughts. The claustrophobic intimacy he shared with his mother becomes awkward when she displays signs of jealousy and possessiveness.
In this season, more about the death of Miss Watson (Norman’s teacher) comes to light, including her past. Meanwhile, Norma is still fighting the good fight to ensure that the impending bypass doesn’t ruin her business.
In an interview with Collider. com, Highmore and Cuse gave an overview of what fans should brace themselves for.
On Norman’s evolvement, Highmore said: “I think the whole arc of the second season has been fantastic for Norman. There is always time that you need, in terms of establishing a character and seeing them as they are before they start off on this journey. Towards the end of this season, by the 10th episode, we start to see this manipulative side of Norman that starts to question our allegiance to him. That has been great fun, as an actor, to play because you play against this sense of what people think Norman should be like. But then there comes a point where you have to decide to what extent you can support his actions.”
Another crucial aspect this season is the strained relationship between mother and son.
Cuse explained: “What makes the show wonderful is that incredible dynamic that exists between those two charac-ters, as portrayed by the two actors. That’s the very heart of the show. The nature of the relationship, however, will evolve over time. What’s really interesting is that Norman is going from being a boy to being a man. As he becomes more of a man, that has consequences in terms of how he and his mother relate to each other.”
Norma’s yearning for an idyllic life is manifested in this season, with George Heldens (Michael Vartan) being a part of her life. Once again, this story arc plays out with a dramatic twist.
Paloma Kwiatkowski (Cody Brennan) is another actor making a debut on the show.
Expanding on sharing the screen with her, Highmore offered: “Paloma’s fantastic and had such a different synergy to bring to the show. It not only served to revitalise Norman, in many ways, but it also brought up this whole other world for Norman, outside of the home. So she has been great to work with, with lots of energy and always coming in incredibly well prepared.”
As for that uncomfortable tension between Norman and Norma, well, that isn’t dissipating either.
Cuse shared: “As writers, Kerry and I have tried to make viewers understand why it exists. That’s just part of the tension that’s very much at the centre of the show. We are intentionally playing into that, but at the same time there are certain lines that we, as writers, don’t feel comfortable crossing.”
Expanding on their intended goal with the show this time, he added: “We really wanted to show the characters in White Pine Bay, and to get to know more about the community, and to really deepen the audience’s connection with Norma, Norman and Dylan (her estranged son). We are making a show that is extensively about a serial killer, but the goal, from a writing standpoint, is to make the audience really care about Norman and Norma, to like them and to root for them.”
Season two is laden with more psychological curve balls amid the residual high-strung emotions and almost humane overtone.
• Bates Motel 2 airs on M-Net tonight at 9.30pm.