The Bird With the Crystal Plumage will be released in the US, UK and Canada in a 4K Ultra HD boxset with Arrow Bird with the Crystal Plumage. The limited edition comes out on the 29th. June 2021 for a US release. The contents of the limited edition include:

New 4K restoration with original Arrow Films negative
4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
Original Italian and English audio tracks losslessly restored to mono
English subtitles for Italian audio track
Additional English subtitles for the deaf and hard of hearing for English audio track
Audio commentary by Troy Howarth, author of So Deadly, So Kinky: 50 Years of Italian Giallo Films
Black Gloves and Screaming Mimis, an interview with author and critic Kat Ellinger about the film and its relationship to Mimi and Frederick Brown’s novel Screaming Mimis
The Power of Perception, a visual essay on the cinema of Dario Argento written by Alexandra Heller-Nicholas, author of Devil’s Advocates: Suspiria and the web of giallo: Art, Lust and Horror Film, reflection on the recurring theme of perception and the role of art in Argento’s filmography
Crystal Nightmare, interview with writer and director Dario Argento
Icon Argento, interview with actor Gildo Di Marco
Eva Conversation, Archival interview with actress Eva Renzi
Original Italian and International Theatrical Trailer
Texas Nightmare 2017 Trailer
Art Galleries
Illustrated collector’s booklet with the script by Howard Hughes and Jack Seabrook, and a new essay by Rachel Nisbet
Double-sided folding poster with original and recently commissioned illustration by Obviously Creative
Six double-sided lobby postcards in postcard format
Reversible limited edition packaging with original and recently commissioned illustration by Obviously Creative.

In the meantime, check out our earlier review of this giallo classic here:

The Bird with the Crystal Plumage is a 1970 Italian giallo-thriller film written and directed by Dario Argento (Phenomena, Suspiria, Deep Red, etc.), who made his directorial debut with this film. The film stars Tony Musante, Susie Kendall (Tales of Witness Madness; Craze; Torso) and Enrico Maria Salerno.

The film is a loose adaptation of Frederick Brown’s novel Screaming Mimi, which was previously filmed in a 1958 Hollywood movie of the same name, directed by Gerd Oswald.


Sam Dalmas (Tony Musante) is an American writer living in Rome with his model girlfriend Julia (Susie Kendall). Sam is suffering from writer’s block (I haven’t written a line in two years) and is about to return to America, but witnesses a woman being attacked in a contemporary art gallery by a mysterious assailant wearing black gloves and a coat.

While trying to reach her, Sam gets stuck between two mechanically operated glass doors and can only watch as the villain escapes.

The wife, Monica Ranieri (Eva Renzi), wife of gallery owner Alberto Ranieri (Humberto Raho), survives an assault and the local police confiscate Sam’s passport to prevent him from leaving the country. The attacker is suspected of being a serial killer of young women in the city and Sam is a key witness.


The 19th. June 2017 Arrow Video released the film on Blu-ray + DVD with new artwork designed by Candice Tripp (and the original poster on the back cover) and the following features:

A brand new 4K film restoration of the original version 2 camera negative.
High definition presentation on Blu-ray (1080p) and standard definition DVD
Original Italian and English mono audio tracks (lossless on Blu-ray Disc)
English subtitles for the Italian audio track
Optional English subtitles for the deaf and hard of hearing for the English audio track
New audio commentary by Troy Howarth, author of So Deadly, So Kinky: 50 Years of Italian Giallo Films
The Power of Perception, a new visual essay on the cinema of Dario Argento, written by Alexandra Heller-Nicholas, author of Devil’s Advocates: SuspiriaNew interview with writer/director Dario ArgentoNew interview with actor Gildo Di Marco (pimp Garullo)Reverse cover with original and new commissioned artwork by Candice TrippLimited edition with 60-page booklet with artwork by Matthew Griffin, score by Michael McKenzie and new lyrics by Howard Hughes and Jack Seabrook.


Reviews [click on links to

Argento never had a stronger story than this, anchoring his visual signature in a recognizable thematic and human fabric that would later be abandoned for the candy-coated fantasies of Suspiria and Inferno. Ennio Morricone still manages to evoke the harshness of a killer cast, and all the actors do a good job, despite the partial dubbing. Mondo Digital

…If Argento’s love of all things psychological doesn’t overwhelm Fred Hitchcock, the film’s ending is reminiscent of a psychopath of his own. If Hitchcock’s ending unnecessarily demonstrates his fascination with psychoanalysis, the ending of The Bird with the Crystal Plumage is at least more polished and poetic. Slant Magazine

The Bird with the Crystal Plumage is frankly not the most revolutionary crime film, not even the behemoth of horror, but it is certainly notable for its haunting sense of horror and deviousness […Argento manages to be both shockingly grim (the final confrontation between the killer and Sam is almost an exercise in blatant sadism) and surprisingly restrained (the film is far less gory than some might have expected).

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What makes Argento’s thriller so revolutionary is the clever use of suspense elements, such as. B. a screaming Kendall locked in a room while the killer breaks down the door (much copied in movies like The Shining and Halloween). The editing techniques of Franco Fraticelli and the stunning visual effects of cinematographer Vittorio Storaro (who would later win an Oscar for Apocalypse Now) are essential to Argento’s vision. Plus an unforgettable score by Ennio Morricone. Warehouse of the sect man

Following in the footsteps of his former colleague Sergio Leone, Argento tried to balance art and exploitation with The Bird with the Crystal Plumage, and the result is one of the most important films of the era. The film won over art film audiences with its dry, clean look, and the general public because it was just as classy as Blow-Up, but more understandable. A.V. Club.

If you’re going to deconstruct the ending of the movie after watching it, it might not make sense to you. I wouldn’t go so far as to say it’s stupid, but it’s not entirely plausible. None of this matters during the movie. Argento manages to captivate you from the start in such a way that by the end you are ready to buy whatever it is he is selling you. Gross

The various stalking scenes are handled with style and momentum, and while the murders themselves are not as operatic and brutal in their gruesome intensity as in later films, they are full of wonderful touches and details that linger in the memory long after the film is over. Troy Howarth, With Death, With Perversity: 50 Years of Italian Giallo Films Volume 1


…There’s a sense of humor that doesn’t detract from the suspense or scary moments, and both the development of the mystery and the juggling of deceptions are skillfully handled […] None of this is inventive (conceptually, stylistically, or otherwise) or original enough to be the genre masterpiece that some make it out to be. It’s just a solidly made, entertaining, above average film in its genre. A pit of bloody horror.

Inspired by Mario Bava, Argento quickly established his signature style: beautifully staged sets, fetishistic graphic violence and clever diversionary tactics. J.A. Kerswell, Teenage Wasteland: The Slasher Movie Uncut


This film moves away from the noir genre that inspired him – the femme fatale and the amateur detective who pursues her – to a new form of cinema and storytelling that also seems inspired by Ennio Morricone’s jazz score (Argento often modeled his films on musical scores) and the logic of the Freudian dream. Electric sheep

The often misogynist filth of Argento’s films is incorporated here in a shot where a busty woman undresses to go to bed and puts on a tiny nightshirt, before she is attacked by a killer who takes the time to pull off her top and panties with a knife before stabbing her – a perfect example of how her desires are exposed before she is stabbed to death. Moria

The dialogues are crude; the dubbing is terrible; the gore is too thin; the atmosphere is too thick, and yet The Bird with the Crystal Plumage has the energy to maintain its thoughtfulness and the decency to display its devices with style. Something remains of each of his best models, and it’s fun to rediscover old horrors in such a beautiful new setting. Vincent Canby, New York Times, 23. July 1970.

The Bird with the Crystal Plumage is presented as a thriller, and a very good one. But his fears are of a much more fundamental level than, say, a Hitchcock thriller. It works mainly by exploiting our fear of the dark. Roger Ebert, 14 years old. October 1970.

The actors and characters:

Tony Musante… Sam Dalmas
Susie Kendall… Julia
Enrico Maria Salerno… Inspector Morosini 19 Eva Renzi… Monica Ranieri
Umberto Raho … Alberto Ranieri
Renato Romano … Professor Carlo Dover (as Rafa Valenti)
Giuseppe Castellano … Monty
Mario Adorf … Berto Consalvi
Pinot Patty … Fayena
Gildo Di Marco … Garullo
Rosita Torosh … 4. Victim (as Rosita Torosh)
Omar Bonaro … Police Inspector 19 Fulvio Mingozzi… Police Inspector 19 Werner Peters… Antiques dealer
Karen Valenti… Tina, victim number 5 of 1919 Carl Mancini… TV girl
Bruno Erba… Police Inspector
Reggie Nalder… Needles, yellow killer jacket (uncredited)


Technical details:

96 minutes
Audio : Mono
Factor East
Appearance : 2.35 : 1

Shooting in 1969.

Original title:

L’uccello dalle piume di cristallo

Fun facts:

The rare Siberian bird from which the film takes its name is actually an African crane.



Associated companies

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