In all of cinema few can compete with Argento's talent with a set piece, and Bird packs some wonders. It will be a while before he brings that weightless quality to entire films, but here we have an accomplished debut with a delightfully silly mystery at its core. Like De Palma and Hitchcock, he successfully makes us complicit as participant in horrors we might decry.
Honestly, there are very few gialli that I truly love. For all the talk of how "wildly stylish" they are, this usually only applies to a couple of scenes, while the rest of the film is dishwater dull. Argento's debut is hardly the bonafide masterpiece it's often touted as. Profondo Rosso and Tenebrae really show just how far the genre can take it in terms of narrative and style. This is just flat.
Argento's debut directorial effort didn't so much engender a genre as concretize one, and w/ it a template was set down that would be repurposed by countless filmmakers up to today. BIRD isn't just one of my favourite debuts, it is one of my favourite movies, extremely stylistically rich and cunning in its situation of the spectator. The first (attempted) murder set piece is inarguably one of cinema's very finest.
A precursor to what Argento would further perfect in Suspiria and Deep Red. All of Argento's films look incredible and this is no exception. Shot by the one and only Vittorio Storaro, Argento's film still holds a punch - even if it is sillier, stupider, and less engaging as his other work.
The Bird with the Crystal Plumage is an assured debut that boasts many of the things that would later become the director's trademark, but one has to wonder what Dario Argento might have achieved if a credible writer would have handed him down a plausible script without all of the contrived plot devices and ludicrous dialogue. Sit down, suspend disbelief, and take in all of the violently beautiful compositions.
Surprisingly sober for an Argento and probably one of his better offerings. The point of view murder scenes are effective, as are the zany characters here and there (the painter, the hitman with the yellow jacket, the stuttering informer). The ending is a bit rushed and you can guess the killer miles away, but I guess that's the point.
7 - A spectacular, if imperfect debut. Argento avoids overestimating his own abilities, along with other rookie pitfalls (minus some sonorous overindulgence), to deliver a fine-tuned prototype of what would come to define him; beautiful locales, expertly captured, and a far-fetched plot seasoned with some potent chills. His trademark use of perspective also has its genesis here.
High on style and low on sensical storytelling. But that’s okay, because that’s not what these movies are supposed to be. The shot composition and production design are striking and beautifully, and the direction is powerful and great at conveying violence and suspense. Great set pieces and highly colorful technicolor design make for visually stunning, gruesome entertainment.
[Spoilers] Formally Argento's best film; romantic interplay without the silliness of "Profondo Rosso", decent acting without the hamminess of "Suspiria", and a more believable killer than that of "Opera". Plus, a great twist where our presumptions about the gender of victim and killer are neatly reversed.