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The Bird with the Crystal Plumage (1970)

L'uccello dalle piume di cristallo (original title)
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2:45 | Trailer

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A witness of an attack, a writer becomes stalked by a serial killer.

Director:

Dario Argento

Writer:

Dario Argento
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2 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Tony Musante ... Sam Dalmas
Suzy Kendall ... Julia
Enrico Maria Salerno ... Inspector Morosini
Eva Renzi ... Monica Ranieri
Umberto Raho ... Alberto Ranieri
Renato Romano ... Professor Carlo Dover (as Raf Valenti)
Giuseppe Castellano ... Monti
Mario Adorf ... Berto Consalvi
Pino Patti Pino Patti ... Faiena
Gildo Di Marco Gildo Di Marco ... Garullo
Rosita Torosh ... 4th Victim (as Rosa Toros)
Omar Bonaro Omar Bonaro ... Police Detective
Fulvio Mingozzi Fulvio Mingozzi ... Police Detective
Werner Peters ... Antique Dealer
Karen Valenti ... Tina, 5th Victim
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Storyline

In Italy, the American writer Sam Dalmas witnesses an attempt of murder of the owner of an art gallery, Monica Ranieri, a couple of days before returning home. Inspector Morosini, who is in charge of investigating the three previous murderers of the serial-killer, asks for help to Dalmas and takes his passport. Dalmas decides to stay with his girlfriend Julia and to help the police in the investigation. The killer threatens Dalmas and Julia by phone and the police overhears a strange noise in the tape. Soon the serial killer stalks Julia and Damas. Who might be the killer? Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

Spine-tingling suspense that made Hitchcock a household word! See more »


Certificate:

GP | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | West Germany

Language:

English | Italian

Release Date:

12 June 1970 (USA) See more »

Also Known As:

Point of Terror See more »

Filming Locations:

Agnano, Naples, Campania, Italy See more »

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Box Office

Budget:

$500,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Goofs

Language: It's never explained whether Dalmas speaks fluent Italian, or whether all the Italians (including the imprisoned pimp) speak fluent English. Furthermore, while all of the featured magazines, newspapers, street signs are in Italian, some letters and the computer print-out at the forensics lab is for some reason in English. See more »

Quotes

Inspector Morosini: Right! Bring in the perverts!
See more »

Connections

Referenced in Morirai a mezzanotte (1986) See more »

Frequently Asked Questions

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User Reviews

 
Argento's first film is his first Giallo, and one that is sharply crafted, amusing, chilling, and even eerily jazzy
1 March 2008 | by MisterWhiplashSee all my reviews

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.


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