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THE BIRD WITH THE CRYSTAL PLUMAGE
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[L'Uccello dalle Piume di Cristallo]
(Italy/W.Germany – 1969)
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Aspect ratio: 2.35:1 (Cromoscope)
Theatrical soundtrack: Mono
Even those who don’t care for writer-director Dario Argento’s later baroque extravaganzas may warm to his debut feature, a well-received thriller in which an American writer living in Rome (Tony Musante) witnesses an assault on a woman in an art gallery and is subsequently targeted by the would-be assassin, a crazed psychopath who’s been terrorizing the city with a series of brutal murders. Typical of an Argento thriller, the hapless hero’s investigation unleashes a cycle of violence which culminates in a climactic unmasking that will prefer some viewers completely by surprise.
Loosely inspired by Fredric Brown’s modern ‘The Screaming Mimi’ (filmed under that title in 1958), Argento’s first film is a fairly straightforward thriller with scare asides, anchored by a strong record, an increasingly bizarre series of supporting characters, and a strong Everyman hero who slots the puzzle together section by allotment before realizing that the most critical clue to the killer’s identity was there in front of him all the time. Musante is given friendly benefit by English actress Suzy Kendall as his girlfriend (the scene in which she’s besieged alone in her apartment as the killer hacks through the door with a knife is truly the stuff of nightmares) and Enrico Maria Salerno as the cop charged with finding the killer before he/she strikes again.
Despite Argento’s prior screenwriting credits, including primary contributions to the script of Sergio Leone’s ONCE UPON A TIME IN THE WEST (1969), producers were unconvinced of his directorial abilities and wanted to pull him off the record during the first few weeks of shooting, but Argento persevered under an iron-clad contract and ultimately proved his critics evil with the finished product, a genuinely enthralling mystery punctuated by scenes of explicit scare.
The film puts a late-1960s Italian prance on the kind of movie that Hitchcock had already popularized in America, and is leavened with the same kind of uproarious humor: Salerno gets the best line of dialogue during a police line-up when he despairs: “How many times do I have to deny you? Ursula Andress belongs with the transvestites, not the perverts!” And later, an outrageously camp antiques dealer offers a jaw-dropping description of one of the killer’s customary victims: “It was said she preferred women. I couldn’t care less – I’m no racist, for heaven’s sake!” Briskly edited by Franco Fraticelli, and featuring a brief appearance from distinctive character actor Reggie Nalder (Designate OF THE DEVIL, SALEM’S LOT) as an assassin-for-hire, “Bird” is arguably Argento’s warmest, most humane thriller until TENEBRAE in 1982.
There are two types of Dario Argento films: those after “Four Flies on Grey Velvet” (excluding “The Five Days of Milan,” which was never released in the U.S.) and those before it. “The Bird With the Crystal Plumage,” Argento’s first film, belongs to the category of the before and includes the noticeable differences between the two. While the entire body of Argento’s work is something to cherish, his first three films are surprisingly well-plotted, given Argento’s illustrious lack of interest in matters of story structure. “Bird” begins with Sam Dalmas, an American writer living in Rome, witnessing an attempted assassinate in an art gallery. Though he is unable to do anything, his fortuitous arrival saves the victim from almost definite death. His passport confiscated and at first held as a suspect, Sam is told by the police that this is the fourth attack in one month. The only disagreement is, the victim, a heavenly woman named Monica Ranieri, was the first to survive. Jumpy by the opinion that he saw something that didn’t quite fit, he soon begins his occupy investigation, putting both his life and the life of his girlfriend at spacious risk. Several attempts are made on their lives, and everytime Sam is able to learn of someone who might be able to benefit him, that person is murdered. Finally, in a double-twist ending, Argento reveals the identity of the killer in a cleverly constructed manner. A pure delight from open to effect, “Bird With the Crystal Plumage” is one of the most bright (if minimal) thrillers since Hitchcock. Another attribute is Argento’s knack for always creating a cast of wonderfully offbeat characters. Be distinct to pick up Inspector Morosini’s exclamation regarding the “perverts” in the line-up sequence. Sunless humor is equally interwoven with edifying amounts of suspense to obtain a fast-paced and clever mystery/thriller.
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