Responding to remarks about the influence of Hitchcock's 1960 PSYCHO on the history of the psycho-killer subgenre...
I'm only aware of one year-by-year "psychofilmography" of this subgenre, and that's the one compiled by John McCarty in his 1993 MOVIE PSYCHOS AND MADMEN. I don't agree with a number of his inclusions, such as "Jekyll and Hyde" films and "evil mastermind" films like those of Fu Manchu and Doctor Mabuse. But he's generally good about focusing on killers who seem motivated less by gain than by some mad pleasure in killing, usually more than just one victim. His list suggests that, aside from Mister Hyde, supernaturally-endowed psycho-killers barely existed in any quantity before the 1980s, so that most of the malcontents on the list are either uncanny or naturalistic.
According to McCarty, there's barely anything relevant in cinema's silent years, though Hitchcock's 1926 THE LODGER builds on the legend of Jack the Ripper. I don't consider the original LODGER a true psycho-killer film, though, because the evildoer is mainly important as a catalyst, causing an innocent man to be falsely accused.
Fritz Lang's M heads up the sound era, but it, like most of the other psycho killer films of the thirties, doesn't beget more of its own subgenre kindred. The strongest pattern I see are a series of one-offs on a theme I would call "the mad hobbyist." This means a character who's so obsessed about his hobby that he makes murder integral to his pursuits, thus taking in 1932's MYSTERY OF THE WAX MUSEUM, 1935's THE RAVEN, and 1936's THE DEMON BARBER OF FLEET STREET.
By contrast, the forties really develop the subgenre as cinema never had before. Many years during this decade can boast (according to McCarty's parameters) as many as four or more psycho-killer films each year. Was there an upsurge in the public's perception of psychology, particularly of the Freudian brand, so that ticket buyers took the subject more seriously as a way to explain deviant behavior? Es posible.
In 1944 we get the first psycho-killer film that spawns, not a sequel or remake, but a wholly different movie in the same idiom. John Brahm's THE LODGER is a wholly different film from Hitchcock's, for the psycho-killer is the focus of the story. The killer's mental makeup is described in much more detail than most thirties parallels, even more than in Lang's M. LODGER was successful enough that the studio got Brahm to do an idiom-sequel for 1945 release, adapting the novel HANGOVER SQUARE in such a way as to duplicate the appeal of LODGER.
A lot of crime-films started using crazed killers, too. Scarface and Little Caesar had their obsessions, but they didn't murder for pleasure like the psycho-crooks of BORN TO KILL, KISS OF DEATH, or Hitchcock's ROPE.
The fifties show roughly roughly the same pattern as the forties, though in this decade we get an idiom-sequel to a "mad hobbyist" flick, when the success of Vincent Price's 1953 remake of MYSTERY OF THE WAX MUSEUM leads to his appearance in 1954's THE MAD MAGICIAN. Toward the end of the fifties we're beginning to get a few films like 1958's SCREAMING MIMI and 1959's HORRORS OF THE BLACK MUSEUM, which might have encouraged (if not literally influenced) the provenance of not only PSYCHO, but the same-year PEEPING TOM by Michael Powell.
In terms of the history of psycho-killers, PSYCHO's biggest influence was that it provided a pattern that proved easy to follow. Instead of one or two idiom-knockoffs of a successful movie, the "hills" of the 1960s were alive with the sounds of psycho-killings. Going purely by McCarty, year 1966 is the only one that has as few as four such movies, and that's with me eliminating the irrelevant FRANKENSTEIN CREATED WOMAN. After 1970, McCarty's list, which concludes with Year 1992, shows almost every year with at least ten such films listed.
And to think-- it all started with a noisy shower.
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