User Reviews

Dario Argento has come a long way since his first giallo. With classics such as Deep Red, Suspiria and Tenebrae under his belt he is often recognised as Italy's greatest horror director (rightly so). His style that he uses in all his movies is very noticeable here. The excellent score, long tracking shots, bloody murders and the shocking twist at the end. Although Bird with the Crystal Plumage is not as gruesome as his others and the twist not as shocking, he had to start somewhere.

Sam, an American writer in Rome witnesses the stabbing of woman in an art gallery but is powerless to help as he is trapped between two glass doors. The woman survives though, and the police tell Sam she is the first surviving victim of a serial killer. The police keep Sam in Rome which annoys him quite a bit but he soon starts to investigate after someone tries to kill him.

Bird with the Crystal Plumage, although not his best work, is still an intriguing and well-made movie. The acting is good, the score excellent and the twist sure surprised me! This is highly recommended for Argento fans.

4/5

It's of course definitely true that the earliest Giallo's are also most definitely the best ones and the same can be said for Dario Argento's movies. And this movie was not just his first Giallo but also his first movie in general! And what a great debut it was for him! This movie is definitely being one of his bests and one of the better Giallo movies out there in general.

Finally a good Giallo again! I absolutely love the genre but I have to admit that most of the movies in it are extremely mediocre. Absolutely nothing tops "Profondo rosso", which also got directed by Argento but I can at least say that this movie comes close at times and especially considering that this is one of the earliest movies out of the genre, I really have to take my hat off for this one.

Some good mystery, some good characters, some great tension and killings. In other words, plenty to enjoy for the Giallo lovers in this movie. I think that this movie did a great job with its storytelling and the way it was handling its almost constantly present tension and mystery. Also good news about all of it is that it doesn't fall flat at the end, as often is the case with these type of movies.

The movie uses some great and at times also innovative cinematography, which helps to create a certain mood and tension for the movie, which all definitely helps to make this a very effective one within its genre.

And if you still aren't convinced to watch this movie, let me throw in a couple of more names, besides Dario Argento's; Ennio Morricone and Reggie Nalder. Nalder is a great character actor, I have seen popping up in a wide variety of movies. I have even seen a skin flick with him in it, which is all the more shocking once you know how Reggie Nalder looks. Luckily he himself didn't got nude in it but I always enjoy seeing him in movies and he often plays the quiet, scary looking henchman, as he basically also does in this movie.

And then there is also still the Ennio Morricone musical score. Most people don't really know it but by far most of Morricone's musical scores are some weird ones, that still have lots of quality to them though. As does the score to this movie, which is one Ennio Morricone himself is even proud off, since he often plays it at some of his concerts.

Finally a Giallo movie again of which I can truly and honestly say it's a great one, that I absolutely enjoyed watching.

8/10

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I recently bought a bunch of Argento movies on laserdisc because I'd seen a few and really liked them. I was pleased to find that the new titles in my collection are really good as well.

This film was Argento's first as director, and it's easy to see how he got work after that- it's great. It begins with an intriguing premise- that a witness to an attack saw more than he perceived- and pays off with a nice thriller.

My only beef is that I rewatched the beginning after it was over and, well, try it for yourself.

If you liked this and can stomach some much more extreme gore, try TENEBRAE. Maybe you shouldn't watch them back-to-back as I did, but give it a spin some time.

Another cracking giallo film from Dario Argento. This murder mystery is better than any non-English television show dubbed in English. Seriously the prime suspect for the series of murders in Rome, Italy is not revealed until the very end of the film and it is quite a surprise when they are revealed.

The musical score is excellent. I believe it is the same composer who did the music on Clint Eastwoods spaghetti westerns. This is an early gem from Argento who went on to direct other classic giallos such as Suspiria (1977). As always in this genre the cinematography is lush and colourful. The English dubbing is good considering other films from Italy.

The Bird with the Crystal Plumage was Dario Argento's first film and it made him a hot property. Having had very little experience with actual filmmaking, he showed incredible potential with his debut and he took full advantage of it in years to come. Here he explored a lot of the scenarios that would later charectarize his films.

With this film, and particularly his next, Dario showed he had been influenced quite a bit by the great Alfred Hitchcock. The theme here; an american in a foreign country becomes a witness to a heinous crime and starts investigating himself; bears more than a little resemblance to many of Hitchcock's films. An innocent man finds his morbid curiosity getting the better of him and as he progresses in his investigations he puts himself in grave danger. The story unfolds in a similar way to Hitchcock's films, clues are gathered periodically and there's a surprise in the end which is hard to guess, but not impossible.

Argento gradually builds up the suspense and creates a genuinely intriguing mystery. The film never slows down too much and it never fails to be interesting. It's also got a surprising amount of laughs. But in comparing Argento to Hitchcock, Argento manages to create a style of his own, which he would perfect in Profondo Rosso aka Deep Red a few years later. That's of course the visual style. Here he has the assistance of one Vittorio Storaro and the visual aspect of this film is one of it's greatest assets. The film is wonderfully lit every single time and Argento switches effortlessly between dark and dreary visuals to shiny happy images. Argento's visual style is one of his greatest trademarks and it bears some influence from the likes of Mario Bava. I don't want to name any particular scenes, they all flow well together.

Another terrific Argento trademark is the music. Ennio Morricone's score is nothing short of fantastic, ranges from cathcy repetetive melodies to haunting sounds of fear. I think the impact from Argento's films would lessen considerably would it not be for those terrific scores he gets every time.

However, Argento is not perfect. He seems to lessen his standards when it comes to the acting department. Here, the characters are a bit wooden and he doesn't give them all that good lines to deliver. The dialogue in many of his films seem a little childish. And it doesn't look like he gives them many instructions, the acting here (and in most of his films) is shaky and not very consistent. It has been said about Argento that he basically thinks of actors as human props, what's most important is where they are positioned and how they move. Also, it's very annoying how he dubs every film, even the american actors have to do voice overs on themselves.

That said, Argento has more pro's than con's. His films are always interesting and wonderful to look at. The Bird with the Crystal Plumage is in my opinion one of his best. 9 out of 10.

This thriller from Italian horror maestro Dario Argento is is about a serial killer on the loose, and an interesting mystery to be solved. Argento's trademark visual style is not yet as developed here as in some of his later films but we are getting there, and the movie looks quite good for what it is.

I saw this movie over ten years ago and it left an impression on me. Now I watched it again. I must say it wasn't as good the second time around but not bad either. I think the opening sequence with the murder in the gallery is the most haunting image, and then a later part when the main characters find out about the bird that the title refers to. Those are chilling. But the rest of the plot is not entirely as focused.

Not a super favorite of mine, but I would recommend it for fans of Dario Argento and slasher/mystery thrillers.

Ominous music and lush cinematography override a sparse script to create a Jack-the-Ripper type thriller, which is deeply introspective, moody, and haunting.

Indeed, the script can be treacherous if used to try and solve this whodunit puzzle, which is best handled by removing psychological assumptions rather than by piecing together logical clues. Even so, the murder mystery plot is to some extent illogical.

The strength of the film though lies in its suspense, which is almost unbeatable. It rivals any of Hitchcock's works, to which it is repeatedly compared. The scene showing a knife chipping away at a wooden door is reminiscent of, and more frightening than, scenes showing bird beaks chipping away at a farmhouse door in Hitchcock's "The Birds".

I like the film too because it is so nostalgic. The reel-to-reel tape recorder and dozens of other props and visual cues, the references to philosophy and mysticism, the Morricone film score which at times sounds like the film scores from his spaghetti Westerns, all conspire to transport the viewer back to the Age of Aquarius.

The acting is fine. Tony Musante, Suzy Kendall, and Enrico Salerno are perfect for the roles they play.

This is one scary movie. Minor flaws notwithstanding, "The Bird With The Crystal Plumage" is top-notch entertainment for fans of suspense thrillers.

Argento's first directorial effort is compared with Hitchcock, but as tempting as that is, Argento is compared with no one. He has his own style and that style was displayed in his first effort.

What seems like a straightforward slasher pic, is far from it.

There are clues throughout, even though they don't look like clues when you see them. One finds it strange that the protagonist (Tony Musante) follows a lead that doesn't make sense, and a clue is revealed that doesn't help us either.

Why is everything so muddled? Because this will end with a surprise, and then everything will make sense. So, don't try to guess, just enjoy a great Giallo and wait for the Hitchcockian surprise.

Splendid debut film for Italian horror master Dario Argento that nearly single-handedly launched the giallo genre.

American writer vacationing in Italy prevents a murder at an art gallery, then finds himself a pawn in the killer's deadly game.

Argento, who would go on to make such classic horror films as Deep Red (1975) and Suspiria (1977), shows his directorial talents well with this first film. Argento makes excellent use of such simple elements, like darkness, close up shots, and rustic locations to give this film a wonderfully garish style! He builds tight suspense through out the film, all the while giving us a nicely twisted murder mystery. The mystery is a gripping one, based upon Frederic Brown's novel The Screaming Mimi. The climax of the film is a truly clever twist. Composer Ennio Morricone adds greatly to the films dark atmosphere with his hauntingly beautiful music score. The film also sports one of the best titles of the giallo genre 'The Bird with the Crystal Plumage'.

The films cast does some good performances, the best being sexy Tony Musante as the films hero turned civilian investigator.

A terrific film, that is a must see not just for fans of Argentos work, but for those seeking a great thriller or clever murder mystery.

**** out of ****

The Bird with the Crystal Plumage (1970) is an Italian gem that I recently watched on Tubi. The storyline follows an American couple who are visiting Rome as it's experiencing a serial killer on the loose. While they are visiting a museum the killer strikes and they are lucky to escape. A local inspector takes their passports and makes them aid him in tracking down the killer; meanwhile, the killer is tracking down them...

This movie is directed by legend Dario Argento (Suspira) and stars Tony Musante (We Own the Night), Suzy Kendall (The Penthouse), Enrico Maria Salerno (The Anonymous Venetian), Eva Renzi (Funeral in Berlin) and Karen Valenti (Transplant).

This picture has a perfect storyline for a giallo picture with a few worthwhile unique elements. The dynamics between the couple are well established and acted and this has the classic giallo element where every victim is a female, the horror elements are the chase and most of the kills shows the item for the kill, a scream and blood splatter. I did love the ending how the killer gets trapped and there was a nice twist, as you expect. The killer definitely had a great laugh and the television news story to close the film was perfect.

Overall, this is far from one of Argento's best movies but it's still worth a watch. I would score this a 7/10 and strongly recommend it.

Dario Argento's first dip into the directorial pool is a pot-boiler somewhere in the realm between Hitchcock and Jack the Ripper, classic noir and the "modern" cat-and-mouse serial killer picture. Argento's method's may still be in a slightly embryonic state (i.e. his intense stylistic flourishes, which by the 80s would seem totally ridiculous in comparison to Crystal Plumage), but already on his first film as director- not on writer, however, as he penned all odds and sorts of spaghetti westerns and thrillers- he assumes control like it's second nature. Suspense sequences involving the coolly suited knife-wielding killer, with Argento trademark black gloves, and a long trench-coat and black hat, come off without a hitch, and not without the kind of excess gore that he and other Italian Giallo directors got branded with throughout the 70s and 80s. Damned if I'll say this, it's probably the one film by the director you can show unashamedly to your grandmother.

Tony Musante, an actor I've never come across, impresses (as far as a protagonist in an Argento film can such as this) as an American with his girlfriend who are in Italy for some reason or another (a writer it would seem, as we only are told in one or two scenes, which is just as well). He witnesses an attack on a woman inside an art gallery, the only witness in a string of what has already been vicious murders by butcher knife, all women, all unconnected. He just wants to leave, but he has to stick around to give more details. And then, lo and behold, he grows more and more intrigued and involved in the case till, of course, he and his girlfriend become a target by this sadistic killer! All of this is handled by Argento as if they're not the conventions that we all know in this kind of thriller; he approaches all of them with a fresh take, and adds in doses of unexpected humor to keep things interesting (the painter behind the possible clue-painting with the killer in a field and his cats is incredibly funny).

But it would be just one thing if Argento kept at making near-golden Hitchcockian ideals and the pulpy juices of a genre piece moving along. Argento is out to depict a sense of paranoia, growing and growing upon an aesthetic that is not quite the Master of Suspense, and not quite your common Dirty Harry thriller (though Ennio Morricone's score sounds like a mix of his quintessential touch and some Lalo Schifrin thrown in for good measure). In a sense Vittorio Storaro's cinematography throws one off guard; it's at times not so shot like your common thriller, but as something more ambitious, something that drills away through its premise to dig up any pure cinematic threat to the characters.

This might sound a little pretentious, but just watch certain sequences, like when Sam is being trailed by the man in the yellow jacket, or when the second female victim is seen, point of view changing without a beat misses on either end. Thanks to Argento's backup of Storaro and Morricone, he has here a twisting tale of a psycho killer with an artistic edge. It's clear to see, even with the ending that yells out as Psycho exposition rip-off, that he was on his way to a solid career.

This was Dario Argento's first film and boy, is it ever impressive as he shows quite a wonderful and beautiful style in just his opening feature.

Pretty darn quick into the film that plot takes shape as Tony Musante plays Sam Dalmas who is an American writer witnesses the attempted murder of Monica Ranieri (Eva Renzi) who owns the very art gallery that this crime takes place. The investigation is lead by Inspector Morosini (Enrico Maria Salerno) who believes that it is a maniac who has killed three other women who is the culprit. In the end Dalmas decides to try and crack the case himself. Also starring Suzy Kendall as Dalmas' girlfriend Julia.

To me probably the most straight-forward script by Dario Argento and was supposedly written in 5 days. Has staples that are included in some of Argento's later works such as the black-gloved killer and interesting kills. Although on rewatching this for this review I noticed that the kills in later Argento films get much more gruesome. Argento is great in adding very interesting characters through out to keep things lively. I also love the freeze-framing done when Dalmas sits and rethinks about what he witnessed. I think it was extremely effective. As well a very good, underrated and never really ever mentioned score by Ennio Morricone. As usual he does a great job.

Any fans of giallo out there this is a must-see and anyone who may not know what a giallo is maybe this is an excellent one to start with. On a final note was very pleased to see this was included in the version of 1,001 Movies To See Before You Die. Was also saddened as I think this was the only Argento film in the list. You can probably guess how many of Lucio Fulci's were in the list. :) Personally, I really enjoyed some of Argento's later work like DEEP RED, SUSPIRIA and TENEBRAE more, but this one gets a strong 7/10 from me and recommend it.

If I were to sit here and rate and write reviews of every old movie based on their importance to cinema, I'd have to give the majority of them a perfect score. I don't write reviews like that, and I find people who do misleading. If you look over most of the positive reviews for The Bird with the Crystal Plumage on any site, you're likely to find they talk about the history and importance of the film, but never the film itself. More specifically, never the typical story itself. If that's what you base your opinions on, there isn't anything I can say to change your mind. However, if anyone is sick of hearing on-sided praise for The Bird with the Crystal Plumage, simply because it's old or simply because it's Dario Argento's first film and want and honest review of the movie, read this.

First and foremost, this is not even close to Dario Argento's worst film. Compared to his most recent, Mother of Tears, this film is unarguably better. The main problem I always have with Argento films is that he unabashedly pumps his movies filled with cheese; The Bird with the Crystal Plumage is nothing like that. It has a typical Giallo plot that is solid and doesn't allow room for cheese. And that's also it's flaw. Being solid, the plot is also unoriginal, even for its time, and just downright average at best. It ends with the average reversal of expectations that if you don't expect at the end of movies like this, you're simply naive. The plot most resembles the four-year-younger, and somewhat superior slasher Black Christmas. That isn't saying much, however, because, as I've said, the plot has been used so many times I'm sure people were even sick of it back in 1970.

With all that said, not too many people are going to find this uninteresting. It opens with a very memorable first scene and ends with a very memorable ending. Between those two points, the whodunit elements are all fairly fast-paced and even a little immersing. Argento uses a lot of small elements and some interesting plot points to keep the pace up. Sadly, you realize it's all just a formulamatic mess.

Argento's directing is simply flawless here, even more so than his more popular movies. His repeating use of white is stunning, likewise is the music. Everything reeks of his personal style that I've yet to see another director imitate. He understands how to make a scene the most effective it can be, and that is the single reason I give The Bird with the Crystal Plumage as high of a score as I am. Without the directing, this wouldn't even be worth watching.

And that is simply all there is to say. The movie is light on plot and heavy on atmosphere. By 1970s standards, this must have been a somewhat entertaining, if not typical, whodunit. By today's standards, however, there is little reason to watch The Bird with the Crystal Plumage unless you're a horror buff or a cinema buff.

3/10

If you are just getting to know the works of Dario Argento, THE BIRD WITH THE CRYSTAL PLUMAGE is a great place to start. A masterful giallo from, arguably, the best director of the genre.

Filled with mystery, murder, and menace, this film is one of the foundation stones for all future serial killer / stalker horror. Argento's now-famous imagery and quirky characters are on full display, adding texture to his tale of a man (Tony Mustante) targeted by a homicidal madman after witnessing an attempted murder.

There are no dull moments, and Argento shows why he is the rightful heir to Bava's throne...

It seems that anyone who now takes the time to comment on an Argento film inevitably gets bogged down with trying to rationalise what their favourite giallo of his is; and how one film succeeded in one way but completely failed in another.

All too often it is heard "Wow, Tenebrae; such an amazing film", only to hear in the next 10 minutes by somebody else - "Oh no, Tenebrae; it's just an excuse to show-case gore and little else". I'm not here to try and make a list of what I do or do not like about Argento...I'll save that for all the fan-boys out there.

Setting all of this aside, 'Bird with the Crystal Plumage' is a remarkably successful film: chilling, suspenseful, stylish - it is certainly promising for most horror fans, especially those who are partial to the giallo genre. There isn't that much to fault here. Argento's pacing of both plot and character development is superb and places the audience in the position of trying to work out, quite extensively, who the killer is.

The final 10 minutes of the film are great; literally reaching a crescendo of violence, confusion, and anxiety for both viewer and protagonist alike. The final plot twist does seem perhaps a little bit far-fetched and strung-out but is nevertheless justified by what stood before it.

Visually stunning, 'Bird' obviously formed a sturdy foundation for the visual style and content that would be so prominent in later films such as 'Tenebrae': mouth-watering interiors and the haunting fog-ridden streets of Italy. Despite the serious and eerie tones featured throughout the film there are also mild comic moments which are a nice touch.

Overall, this is a worthy film and a great giallo. I refuse to place it in a hierarchy with some of Argento's other works but to close, it is a fulfilling film to watch with some great cinematography and not as "patchy" as perhaps some have made out. Engrossing stuff.

This is Dario Argento's first film, and one of the most influential gialli. This film is just like "Tenebrae" or "Opera," in that there's a serial killer and everyone's hunting him while he's killing people one by one. How it's different is that the story is less original and the killings are less graphic, so in by opinion it's not as good. You can see that this film majorly influenced the films of Sergio Martino. The twist at the end is a staple in gialli, and it got me good. A fine first film and a taste of what's to come.

This is one rare jewel of an intelligent thriller that was also the break-through effort for people like Dario Argento, the director and scriptwriter, Vittorio Storaro, the director of photography, and last but not least Ennio Morricone who composed the soundtrack. There are great performances by a cast of lesser known European actors who did not make it big but are great in this one. I would just like to mention two outstanding supporting performances by Eva Renzi who was never better before or after, and by Mario Adorf who convinces as half-crazed cat-eating painter. The movie will keep you glued to your seat and surprise with an absolutely unexpected twist at the end. Watch and enjoy!

The Bird With The Crystal Plumage is a fine first feature from Italian auteur Dario Argento, which establishes him as a master of the giallo genre.

Stylishly shot, it tells the mystery of a sadistic serial slasher, who stalks and stabs his victims...only to leave a witness, in the form of an American naturalist who was hired to release a book on birds in Italy.

After finishing his book, he observes the killer in the act, on his way home...leaving him to intervene, and act to save the woman he sees being shanked.

Having been swept up in the investigation, he becomes obsessed with solving the case, himself...which leads him (and his girlfriend) to become targeted by the murder (or murderers).

In typical Argento fashion, we are led to suspect a number of characters, which prevents us (as viewers) from easily identifying the true culprit.

Thus, he establishes, here, many of the techniques and stylistic qualities that he will continue to hone in later pictures- and make them readily identifiable as his own.

While not as masterful as Deep Red, or Suspiria, it clearly shows that he was born to be a director of mystery films.

The plot structure, mise en scene, misdirection, clever use of foreshadowing, and twists are all present here, as they are in later films...showing us that he was a master of his craft from the get go.

But, like in some of his future films, the story ends with some clearly unanswered questions, like, how did his girlfriend know the detective before this case came to fruition?

But considering this is the first film in a series of three- which has come to be known as "the animal trilogy", alongside the films Cat'O'Nine Tails and Four Flies On Grey Velvet- it is possible that these loose ends are explored further in those films (like Inferno explores the questions we are left with in Suspiria).

Either way, it is really a rather excellent first feature for any director.

And would help establish Argento as the auteur he is known as today.

A really entertaining and engaging mystery.

7 out of 10.

The Bird with the Crystal Plumage (1970) was the film that made Argento a european sensation. His murder/mystery T.B.W.T.C.P. was hailed as a success and made him a star. This tense film is about a american who's caught up in a mysterious murder case. He decides to play Sherlock Holmes and find out who did it. A cool soundtrack, nifty direction and camera work makes this one and interesting watch. Recommended for Giallo fans and admirers of Dario Argento.

A

P.S. Watch out for people in brown raincoats who are armed with shiny cutlery!

This was the first film that the famous Italian horror master Dario Argento made, and it has some of the (expected) amateurishness of a directorial debut (especially in the guidance of some of the actors). The plot, mixing slasher-movie elements with a homage to Hitchcock, is clever enough to keep your interest, but the movie as a whole doesn't go far beyond the level of respectable mediocrity. (**)

Not only the best of the animals trilogy but also the best of all Dario Argento's filmography. The killer here is very cunning and methodical and is not the usual psychopath who acts without a valid logic and motive as in future works by Argento. He also contains a strong message of social criticism against the petty bourgeoisie and the authorities, often unable to carry out their job. Acted very well and Morricone's music is beautiful. Furthermore, the acting in the film is really good and knows how to convey the feelings and fear that the characters feel in the right measure. The story is also very interesting and intriguing as well as the surprising twist.