SPOILER ALERT!
THE BIRD WITH THE CRYSTAL PLUMAGE 1970
Bird with the Crystal Plumage 1970 is Dario Argento’s (who also wrote the script) directorial debut. The film is a landmark piece of horror art that revolutionized the Giallo genre and set the stage for Argento’s illustrious career in horror and thriller cinema. The film follows Sam Dalmas (Tony Musante), an American writer living in Rome who witnesses a brutal attack on Monica Ranieri (Eva Renzi) in an art gallery. Trapped between glass doors during the assault, Sam becomes obsessed with solving the case, uncovering clues tied to a macabre painting and a rare bird’s call. His investigation, aided by his girlfriend Julia (Suzy Kendall) and Inspector Morosini (Enrico Maria Salerno), leads to a shocking twist as Bird with the Crystal Plumage delves into themes of trauma, obsession, and the fallibility of perception. Monica, driven by trauma from a past attack, is the true killer, with her husband Alberto (Umberto Raho) as her accomplice.
Heavily influenced by the Maestro of Giallo – Mario Bava, Argento’s film is notable for its opening sequence, which, with its focus on surveillance and photography, sets the tone for the film’s exploration of voyeurism. This theme is further developed through Sam’s obsessive investigation and the killer’s stalking of victims. The film culminates in a climactic confrontation at the gallery, blending psychological intrigue with Argento’s signature suspense-saturated atmosphere.
Vittorio Storaro’s Techniscope cinematography features stark geometric framing, saturated primary colors, and chiaroscuro lighting. The use of amber silhouettes and vivid contrasts heightens the tension and creates a visually striking spectacle. The film established many tropes that would become staples of Giallo, including the amateur sleuth protagonist, the black-gloved killer (seen in Bava’s films), and the blending of mystery and horror.
The Bird with the Crystal Plumage was a commercial and critical success upon release, credited with popularizing the Giallo genre internationally. As far as his legacy, Argento was hailed as “the Italian Hitchcock” and revolutionized horror and thriller cinema through his work, which is characterized by stylized violence, voyeuristic camerawork, and bold color palettes. His work merges operatic set pieces and forges a psychological fault line, where every moment trembles with the promise of seismic collapse.
It launched Argento’s career and influenced filmmakers beyond the Italian horror scene, including Brian De Palma, whose films like Dressed to Kill 1980 and Blow Out 1981 show clear Giallo influences.
Bird with the Crystal Plumage’s success led to Argento’s Animal Trilogy, followed by The Cat o’ Nine Tails (1971) and Four Flies on Grey Velvet (1972). It established Argento’s trademark style of lurid violence, Freudian psychology, and collaborations with renowned artists like composer renowned Italian composer Ennio Morricone.
Morricone is celebrated for his iconic film scores, including those for Sergio Leone’s Westerns. For this film, he infused the score with the Lullaby theme. A hauntingly soft “la-la” vocal melody, performed by Edda Dell’Orso, creates an unsettling sense of innocence and fragility. This theme is used during moments of flirtation or domestic calm, such as scenes between Sam (Tony Musante) and Julia (Suzy Kendall). The lullaby’s ethereal quality contrasts sharply with the film’s violent undertones. Morricone also used atonal improvisation in scenes involving the killer. Morricone employed avant-garde techniques, including dissonant piano notes, free jazz drumming, eerie whispers, and fragmented rhythms, in tracks like “Phrases Without Structure” and used unpredictable sounds—such as muted trumpets, chimes, and distorted guitar swells—to evoke unease and tension.
These semi-improvised pieces mirror the chaotic psychology of the killer and heighten suspense during stalking sequences. The Bird with the Crystal Plumage was pivotal in shaping the soundscape of Giallo cinema. His innovative use of unconventional instrumentation—like vibraphones, harpsichords, and vocal sighs—created an auditory experience that was both unsettling and seductive. The two words that sum up Argento’s films.
DEEP RED (PROFONDO ROSSO) 1975
Dario Argento’s Deep Red (Profondo Rosso) is a masterclass in Giallo filmmaking, which blends the hallmark of the genre with its psychological tension, graphic violence, and stunning visual artistry with the use of vibrant colors and avant-garde camera angles.
The story follows Marcus Daly (David Hemmings), an English jazz pianist living in Rome, who becomes embroiled in a murder investigation after witnessing the brutal killing of psychic medium Helga Ulmann (Macha Méril). Helga had publicly revealed the presence of a murderer during a séance shortly before her death. Obsessed with uncovering the killer’s identity, Marcus teams up with journalist Gianna Brezzi (Daria Nicolodi), and their investigation leads them into a labyrinth of secrets, childhood trauma, and repressed memories. The film is structured around Marcus’s unraveling of the mystery, with each clue bringing him closer to the truth while placing him in increasing danger.
Argento masterfully uses misdirection and visual cues to toy with our perception. A key moment early in the film—when Marcus glimpses something significant in Helga’s apartment but cannot recall what it is—sets up the film’s central theme: once again, much like Bird with the Crystal Plumage – the fallibility of memory.
This idea is reinforced throughout the narrative as Marcus pieces together fragments of evidence, culminating in a shocking twist that reveals the killer to be Carlo’s (Gabriele Lavia) mother, Marta (Clara Calamai), who has been driven to murder by her psychological trauma.
Visually, Deep Red is one of Argento’s most striking films. Collaborating with cinematographer Luigi Kuveiller (Investigation of a Citizen Above Suspicion), Argento creates a world drenched in vivid colors—most notably red—to heighten tension and evoke unease.
The use of color is not merely aesthetic but thematic; red symbolizes both violence and hidden truths that bleed to the surface as Marcus delves deeper into the mystery.
Argento also employs fluid and dynamic camerawork to immerse viewers in the narrative. Long tracking shots follow characters through eerie locations, such as abandoned mansions and shadowy corridors, while extreme close-ups linger on seemingly innocuous objects that later become significant clues.
Using art as a clue — like many Giallo films, Deep Red uses art as an integral part of its mystery. A macabre painting is vital to identifying the killer, reinforcing Argento’s fascination with how art reflects hidden truths.
The killer’s perspective is frequently shown through voyeuristic point-of-view shots, creating a sense of dread as the audience becomes complicit in their acts. Also, one of Argento’s most iconic techniques is his use of reflective surfaces—mirrors, glass shards, and water—which distort reality and hint at hidden layers within the story. For instance, Marcus’s inability to recognize what he saw in Helga’s apartment mirrors his struggle to confront repressed truths about the murders.
At its core, Deep Red explores how memory and perception shape our understanding of reality. Marcus’s inability to recall what he saw at Helga’s murder scene reflects both his personal struggle and humanity’s broader difficulty in confronting uncomfortable truths.
Deep Red is an immersion in childhood trauma — The film delves into how past events shape present behavior. The killer’s motive is rooted in a traumatic incident from Carlo’s childhood—a moment when he witnessed his mother murdering his father. This theme is visualized through recurring images of children’s drawings and dolls, which take on sinister connotations.
The score for Deep Red, composed by progressive rock band Goblin (one of my favorite scores was their work, which infused Suspiria 1977 with a dramatically intense soundscape ), marked their first collaboration with Argento and became one of the most iconic elements of the film. The music blends haunting melodies with pulsating rhythms and eerie synthesizers, creating an atmosphere that oscillates between hypnotic beauty and jarring terror. Tracks like “Profondo Rosso” build suspense with their relentless basslines and dissonant keyboards, perfectly complementing Argento’s visual style.
The score actively drives the narrative forward—for example, Goblin’s music crescendos during moments of revelation or violence. Combining avant-garde rock and classical influences gives Deep Red yet another unique soundscape that has been widely imitated but rarely matched.
Daria Nicolodi, who plays Gianna Brezzi, introduces a strong female character who challenges traditional gender roles. Gianna is independent and assertive and often outshines Marcus in her investigative skills—though their playful banter occasionally highlights Marcus’s discomfort with her modernity.
