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Nightbirds (1970)

X | | Drama
While living rough on the streets of London's East End, a young man, Dink encounters the mysterious Dee and they begin a relationship. When tenderness gives way to cruelty they become consumed by darkness.





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Cast overview:
Julie Shaw ...
Berwick Kaler ...
Dink (as Berwick Kaller)
Elaine Shore ...
Bill Clancy ...
Bay White ...
Dee's Mother
Johnathan Borkai ...
Felicity Sentance ...
First Girl
Susan Joyce ...
Second Girl
Susan McCormick ...
Tom Houlden ...
Greg McIntire ...
Young Man
Susan Heard ...


While living rough on the streets of London's East End, a young man, Dink encounters the mysterious Dee and they begin a relationship. When tenderness gives way to cruelty they become consumed by darkness.

Plot Summary | Plot Synopsis


The compelling story of two young 'alives' -- facing a moral self-destruction they dare not admit!




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Also Known As:

Pigeons  »

Filming Locations:

Box Office


$10,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


The release version of this film is considered lost; however, a 16mm work print was in the hands of Milligan biographer Jimmy McDonough at the time of the publication of his Milligan biography. See more »


Featured in Twisted Sex: Volume 22 (2006) See more »

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User Reviews

A surprisingly nuanced and sensitive film from Andy Milligan
6 August 2015 | by (United States) – See all my reviews

I've long read that this is one of Andy Milligan's most uncharacteristic works, but I was nonetheless quite stunned by what I saw. The gritty drama (one of several films he made in Britain) follows the relationship between Dee (Julie Shaw) and Dink (Berwick Kaler), two London hippies living in squalor. The film's themes are consistent with Milligan's horror output, but the execution is on an entirely different level. While I love the campy misanthropy and handcrafted Grand Guignol excesses of his horror films, there's no denying that Milligan did not have a natural eye for composition. To put it bluntly he could also be quite sloppy, careless, and just plain artless in his capacities as a cinematographer. Here, however, the grittiness of Milligan's style (or perhaps anti-style would be more accurate) is especially suited to its subject matter. At the same time, his camera-work here is also far more disciplined than usual, with some surprisingly pleasing compositions and (dare I say it) some astonishing visual metaphors. The dialogue certainly has its share of mean-spirited stingers, but generally it's more restrained, naturalistic, and at times quite poetic. As a result this drama of seduction and psychological abuse proves to be quite poignant. Special mention must be made of the two lead actors, who play their parts quite convincingly. Shaw is particularly memorable as the sociopathic Dee; in one chilling moment, after she sends away Dink's only friend (a maternal figure called Mabel) with a series of venomous profanities, we see her mask her sadistic glee with a caring look as she goes back to nursing the injured Dink. Overall it's an impressive work across the board, and shows us a side of Milligan too rarely indulged in his films - perhaps one closer in spirit to his gritty theatrical work.

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