Review Date: November 14, 2005
Released by: Blue Underground
Release date: 10/25/2005
Region 0, NTSC
Widescreen 2.35:1 | 16x9: Yes
, I Vampiri
, Mondo Sex
, Hercules: Prisoner of Evil
, and Mia italida stin Ellada
. Don’t ring a bell? Those are the debuts of Lucio Fulci, Mario Bava, Sergio Martino, Rugero Deodato and Umberto Lenzi, respectively. Not really substantial when you consider the contributions to the Italian horror genre that they’d all make throughout their careers. Dario Argento was different. His first film, The Bird with the Crystal Plumage
was one of extreme craft and quality, exhibiting extreme skill right from the start. It would be the benchmark to which all his subsequent films would be judged, and for many, it remains his best work. Despite being endowed with praise as the pioneering film of the entire giallo genre, Plumage
has remained elusive on DVD thanks to a small little release by VCI several years ago. Blue Underground has uncovered the rights, and have given this Dario Argento classic the special edition it deserves. Let’s inspect Argento’s Plumage
The film starts with a bang as it follows American journalist Sam Dalmas (Tony Musante
) as he walks the quiet streets of Rome at night. All is serene until he witnesses what appears to be an attempted murder. A man clad in black with leather gloves is seen struggling at knifepoint with a screaming Monica (Eva Renzi
) at the art gallery down the street. He runs closer, but gets trapped in between the gallery windows. Unable to escape, he is forced to watch the attempted murder unfold before him. Julia squirms, and the man in back gets a stab in, but quickly runs away upon noticing Sam. A murder diverted, and everything is fine, but just who was that man in black…and will he strike again?
After questioning, Sam returns home to his lady, the lovely Julia (Suzy Kendall
). The two prepare to fly back to America, but are disgruntled to learn their flight plans have been cancelled. When Sam is almost murdered on his way back to the hotel, it becomes clear that the attempted murder of the start is nowhere near solved. Somebody is following him, and Sam continues to run the sequence of events from the gallery scene in his mind, trying to find further clues. He discovers that two other women were attacked in the same fashion in other parts of Rome, and thus he begins a detective trek around the ancient city.
His questionings lead him to a sacred painting, one where a woman is being attacked amidst a beautiful snowy backdrop. Apparently the killer purchased this before his previous murder, so it is up to Sam to track it down and solve the crime. As he continues to look further into the case and into his mind, the facts begin to sort themselves out and become clearer. The closer he gets to the truth though, the more endangered his life becomes, until an intense finale all brought upon by the mysterious bird of the title.
Although The Bird with the Crystal Plumage
is always cited as a direct descendent of Bava’s Blood & Black Lace
, the truth of it is that Plumage
is much more indebted to Michelangelo Antonioni’s Blow-up
. Where Bava’s films tended to look at crimes spurred on by monetary motives or romantic neglect, Antonioni’s fixation was on the creation of meaning. Blow-up
follows around a trendy British photographer as he slips detached through the swingin sixties. His life and sanity are tested when he thinks he has photographed a murder. He zooms in on his photos to the point of abstraction, constantly replaying the picture taking in his mind. Tony Musante’s character in Plumage
is similarly a photojournalist with the same stoic and detached demeanor, too cool to ever register any feelings. In Antonioni’s film, the cool was used to highlight the ennui of modern urbanized culture, but in Argento it is just another tool on his stylistic arsenal.
The real similarities between Blow-up
come from questioning the subjectivity of truth. Like the photos to the photographer in Blow-up
, Musante must continually replay his memories from the opening art gallery to try and decipher the mystery. Viewing the abstract blow-ups in the Antonioni film did nothing but make the murder case less clear, and similarly Argento uses the recurrently replayed gallery footage to further mislead the audience. One can watch a scene a million times, but if vital information is withheld or missing, the true mystery can never be solved. At that point, the eyes become devices of trickery, implanting in the mind subjective inferences that were never meant to be. Where Antonioni used seeing and photographic abstraction as a way to highlight mankind’s vague detachment from society, Argento uses seeing as a way to engage the viewer in understanding their own role in the experience of art.
Seeing, and particularly the vulnerability of the eye, is something that would pop up in Argento’s later works, particularly the eye pecking scenes in Opera
or Daria Nicolodi’s peephole passing in said film. In Plumage
he sets the course though, in not only highlighting how Sam’s perspective during the gallery scene makes him unable to see all the sides of the truth, but also in the way that the killer carves a hole in the door to spy through in his attack on Julia at the end of the film. There is the notion that Julia is being watched by the killer, just like we, the audience, are voyeuristically partaking in the same viewing experience…watching her as she suffers. She tries to stab his eye, and we feel violated. All we are doing is watching, but in having Julia lash back at her stalker’s eye, Argento indoctrinates us for enjoying and participating in the viewing of death and suffering. We can call him a misogynist all we want, but Argento is making us equally as guilty, because we too are participating in the viewing of this viewing of violence.
What the eyes also interestingly do in the film is force us to consider what we deem as art. A painting was meant to be seen, just like a film was meant to be watched, and Argento makes sure to factor art pieces prominently into Plumage
. Whether it be the killer’s snowy art painting, or the spiked museum set piece of the finale, art factors into his film in several different ways. The painting of the murder amidst the tranquil snow sheath is beautiful despite its subject matter. Argento uses the painting to inform the audience that although the death and violence in his films may be undesirable, that doesn’t mean they cannot be considered art within the larger framework of his imagery. The way the blood-spurting discombobulating in Tenebre
unfolds only reinforces Argento’s fixation with the beauty inherent in death. As one of the victim’s blood spurts all over a white wall, it creates a dabbing of red that mimics the finest contributions to abstract expressionism. Argento’s films may be about fearful subject matter, but that doesn’t mean they can’t resonate with the same beauty of a painting.
Yet, if we appreciate the beauty of Argento’s macabre work, then we are little different than the killer who enjoys the snowy death drawing. We engage in the art form with the same sinister desire as the killer, and in that way it makes art dangerous. The potential harm of art is another major theme of Argento’s work, particularly demonstrated in Tenebre
when the killer works in copycat by using his favorite artist’s sadistic books as a template. In Plumage
, art itself literally becomes a victimizer when a huge spiked sculpture falls atop Sam and threatens to dig itself into his penetrable skin. Art can be beautiful in the seeing, but used in the wrong manner it can be deadly. Although we always watch film at a distance, it can still penetrate us much in the same way as the spiked sculpture in the film. You see copycat killings on the news linked to horror films, and it is with this in mind that Argento reminds audiences that even though they are just watching art, it can become deadly when misconstrued or misused.
In The Bird with the Crystal Plumage
, Argento injects a surprisingly complex and mature verbage of film language, constantly making film a medium that works to involve the audience. Even without all the dense symbolism, the film works on a visceral level as an amazingly stylish and kinetic experience. Argento’s camera is always roaming, and he constantly plays with the first person to further involve the audience into the story by literally seating them in the position of the characters. Everything unfolds with a wild visual polish, and even though this is his first film, it suggests many of his famous shots and visual devices he would employ in later works. It is clear with Plumage
that Argento was a director who always had a distinct voice. Many directors take several years and tries to truly find their own, but Argento has been cultivating the same sort of themes and styles ever since his inception as a director.
In its clever piecemeal of parts Blow-up
and Blood & Black Lace
, Argento was no doubt responsible for creating the giallo much in the same way Carpenter’s fusing of Black Christmas
lead to Halloween
and the inception of the slasher genre. Yet, to simply dub The Bird with the Crystal Plumage
as a giallo is to do it a disservice. Argento has made much more than a giallo with this picture, it is an intensely personal and provoking work, and one that is as equally audacious and exciting now as it was when it was first released. Although Argento would become more remembered for his bigger, more visually verbose films like Suspiria
, it’s tough not to admire the concise precision Plumage
. No shot seems superfluous, everything pitch perfect with what Argento wanted to achieve. It is a tight dissertation on all things Argento, and without a doubt one of the finest film debuts in all of cinema.
I honestly did not enjoy The Bird with the Crystal Plumage
when I first saw it. It was an old VHS tape, and the colors were washed out and the compositions unflattering. I wondered what all the fuss was about, and simply filed the film away as a satisfactory debut film. Seeing it now though, in this eye-opening 2.35:1 anamorphic transfer, I’d go as far as to say this is one of the most beautiful horror films ever made. Blue Underground has totally done justice to the lush color palette employed by Bertolucci vet, Vittorio Storaro. The colors are typical oversaturated primaries, with flattering red and blue backdrops visible throughout. The picture has unbelievable punch here, and is night and day with the older VHS tapes. That, and the film is clean and incredibly sharp. There is visible grain throughout, which is to be expected from a low-budget film upwards of 35 years old, but it is kept under tight control. This is a film that utilizes uncharacteristic amounts of darkness in the frame, and this transfer registers incredibly strong black levels that again do the compositions justice. This transfer is a feast for the eyes, and without a doubt some of Blue Underground’s finest work.
Tough to imagine, but the sound is every bit the knockout that the picture is. There is no shortage of tracks to select from, from English DTS-ES 6.1, Dolby Digital 5.1 EX, 2.0 and mono to Italian Dolby Digital 5.1 EX, 2.0 and mono. So really, regardless of preference, there is a track for you here, and they all sound fantastic. The choice cut is the English DTS-ES 6.1, which registers amazing fidelity and a truly engulfing surround experience. Equally as active a remix as Anchor Bay’s The Beyond
disc, with several discrete sounds registering in the rears, like doors pounding and ambulance ringing, it also features a more organic sound than Fulci’s celebrated remix. Never sounding gimmicky, the added soundstage from the film fits with the theatrics perfectly, and the condition of the audio elements is particularly fine after all these years. It has been a long time since a great remixed audio track – the novelty of these seems to have worn off to most studios, but yet Blue Underground proves once again that remixed audio can be a beautiful thing when done right.
The video is one of the best transfers I’ve seen in a long time, the audio equally so, and the audio commentary too deserves company as one of the finer tracks recorded in some time. The audio commentary on the first disc is with English journalists and Argento fanatics Alan Jones and Kim Newman. Jones has been following Argento’s work for some time, and has the benefit of both perceptive critical insight, but also insider viewpoints from his many meetings and conversations with the Italian Hitchcock. The two journalists know their horror, and link Plumage
with everything from Antonioni to Kenneth Branagh. They speak fondly and articulately about the film’s production, its release, its legacy and its influences and influencees. It is a heartfelt commentary by two men who consider this one of their favorite films, and their critical insight makes it nearly impossible to stop. Considering Argento’s language barrier, there is nobody else more fit in commenting on the film than these two. The first disc is rounded off with a couple overlapping trailers and some brief television spots.
On the second disc we have a collection of interviews from some of the most respected and influential filmmakers in the business. First is an 18-minute interview with Dario Argento entitled “Out of the Shadows”. In it, he explains the history of the film, and how it was his most planned and immaculately staged picture. He also details the extensive battle it was to get the film made, not only in dealing with the producers, but getting top talent like Vittorio Storaro and Ennio Morricone to side with him during filming. He speaks fondly of the film, and offers further insight into some of the more complicated shots and sequences in the film.
Next up is “Painting With Darkness”, a 10-minute interview with acclaimed cinematographer Vittorio Storaro. Storaro starts speaking briefly about the picture and his and Dario’s intent, outlining how they frequently had conflicting viewpoints. Despite the quality of Plumage
’s visual style, you get a sense that the reason the two never worked together again was that they had different ideas of what cinematography should be. Storaro spends the remainder of his time explaining the differing roles that a director and a cinematographer must take in conceiving of the visual style for a film. It would have been nice if he toned down the lecturing and focused more on Plumage
, but its still wise words from one of the masters.
Musical master Ennio Morricone sounds in on the score with the 8-minute “The Music of Murder”. His forte is music, not words, and he even explains how a great score can move beyond identifiable description. This is a good thing, since Morricone isn’t all that good at articulating his own feelings. He confirms Argento’s story on how they met, and makes references to the collaborations with Argento that would follow Plumage
. The best part of this interview comes not from Morricone, but from the editors in inserting a beautiful montage of one sheets from the hundreds of films Morricone has worked for over the years. It is a great tribute to a great career. He’ll get his honorary Oscar anytime now.
Last up is an 11-minute interview with actress Eva Renzi, and although you wouldn’t suspect much, she is easily the most interesting interview of the lot. She is candid and honest with her recollections and opinions in “Eva’s Talking”, and isn’t afraid to say that she felt the film ruined all possibilities for her being accepted as a serious actress. Not to say that she doesn’t enjoy the film, which she does, just the part she played made it tough to find future work. She explains the film industry with spite and with a hard regret, and isn’t afraid to sling mud at everyone from star Tony Musante to Klaus Kinski of all people. She’s a great speaker, and it’s a shame this is her last recorded interview. She died in August of this year.
Although there are not a lot of supplements by volume for a two-disc set, the sheer quality of each extra more than makes these extras worth the price of admission. There is some great material here, a fine finish to an already great film and DVD presentation.
The Bird with the Crystal Plumage
is a film whose feathers are as pointed and valuable today as they were when it was first released. More than just a giallo, it forces the viewer to engage with the characters and with the subject matter. In the way it brings us in as voyeurs, we become yet another character in Argento’s elaborate painting of horror as a true art form. The audio and video presentations here are near flawless, and the supplemental material is nearly as sterling in quality. Really, there isn’t much else to say other than that this is probably the key horror release this year. Regardless of film preference, this deserves a spot alongside Halloween
and The Texas Chainsaw Massacre
as one of the quintessential horror films for any DVD collection. Argento knows horror, and in Plumage
, it’s crystal.
Movie - A
Image Quality - A
Sound - A
Supplements - A-
- Running Time - 1 hour 36 minutes
- Not Rated
- 2 Discs
- Chapter Stops
- English DTS-ES 6.1
- English Dolby Digital 5.1 EX
- English Dolby Surround 2.0
- English mono
- Italian Dolby Digital 5.1 EX
- Italian Dolby Digital 2.0
- Italian mono
- English subtitles
- Audio commentary with journalists Alan Jones and Kim Newman
- Sean Hannon's Diary Notes
- TV spots
- Theatrical Trailers
- "Out of the Shadows" featurette
- "Painting with Darkness" featurette
- "The Music of Murder" featurette
- "Eva's Talking" featurette