Also known as: Point of Terror (US alternate title)
Release Date: February 19th, 1970 (Italy)
Directed by: Dario Argento
Written by: Dario Argento
Based on: The Screaming Mimi by Fredric Brown (uncredited)
Music by: Ennio Morricone
Cast: Tony Musante, Suzy Kendall, Enrico Maria Salerno, Eva Renzi
Seda Spettacoli, CCC Filmkunst GmbH, Titanus, 101 Minutes
“Bring out the perverts!” – Inspector Morosini
The Bird With the Crystal Plumage would be a high point for any director’s career. In the case of Italian giallo maestro Dario Argento, this was his debut picture.
Tapping into a major influence of his, Argento took the giallo style that Mario Bava was famous for and gave it a much harder edge and grittier atmosphere. Argento still employs a vibrant color palate to create this world he lets us live in for 101 minutes but everything is much more realistic and less fantastical.
Crystal Plumage really takes the giallo formula to a slasher movie level. And while it even has a certain aura of film-noir, it bridges the gap between these distant generations almost seamlessly. It is a true giallo but it taps into an older Hitchcockian thriller vibe and looks towards the future with touches of John Carpenter. It truly is a bizarre and eye opening experience, as it shows you how certain genres can kind of give birth to new and different things: noir to giallo and giallo to slashers. That evolution has never been clearer than it is in this picture.
The film is a murder mystery where the murders start to pile up. Pretty girls die, the hero witnesses a murder attempt and then puts himself in harms way in order to lure the killer out. Eventually, his girlfriend is put into danger because what is a giallo without a pretty girl running from a knife?
The main actor is Tony Musante, who I liked a lot in the Sergio Corbucci spaghetti western The Mercenary. He starred alongside the great Franco Nero in that one, as well as Jack Palance – a good pair of actors to learn from. His girlfriend is played by Suzy Kendall, who would go on to be in another pivotal giallo picture, Sergio Martino’s Torso.
This film is also a part of a loose trilogy of pictures by Argneto referred to as The Animal Trilogy. The other two films are the ones that immediately followed this one: The Cat o’ Nine Tails and Four Flies On Grey Velvet. All three films share similar themes and have a consistent visual style.
This was the precursor to a lot of great work by Argento. It was a magnificent starting point for the young director and he also got to work with the legendary composer Ennio Morricone.
The film is a visual feast and showed that Dario Argento had something exceptional in regards to his ability to shoot a scene and how to use color and darkness. A true master of mise-en-scène from the very get go, Argento’s work here is pretty profound for his lack of experience helming a motion picture.