Das Geheimnis der schwarzen Handschuhe
Originaltitel: L'uccello dalle piume di cristallo
IMDb-BEWERTUNG
7,1/10
26.009
IHRE BEWERTUNG
Ein im Ausland lebender Amerikaner in Rom wird Zeuge eines Mordversuchs. Später erfährt er, dass er mit einem anhaltenden Mordspektakel in der Stadt in Verbindung steht, und beschließt, sein... Alles lesenEin im Ausland lebender Amerikaner in Rom wird Zeuge eines Mordversuchs. Später erfährt er, dass er mit einem anhaltenden Mordspektakel in der Stadt in Verbindung steht, und beschließt, seine eigenen Ermittlungen durchzuführen.Ein im Ausland lebender Amerikaner in Rom wird Zeuge eines Mordversuchs. Später erfährt er, dass er mit einem anhaltenden Mordspektakel in der Stadt in Verbindung steht, und beschließt, seine eigenen Ermittlungen durchzuführen.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 Gewinne & 1 Nominierung insgesamt
Renato Romano
- Professor Carlo Dover
- (as Raf Valenti)
Rosita Torosh
- 4th Victim
- (as Rosa Toros)
Dario Argento
- Murderer's Hands
- (Nicht genannt)
Empfohlene Bewertungen
The Bird with the Crystal Plumage was Dario Argento's first film and it made him a hot property. Having had very little experience with actual filmmaking, he showed incredible potential with his debut and he took full advantage of it in years to come. Here he explored a lot of the scenarios that would later charectarize his films.
With this film, and particularly his next, Dario showed he had been influenced quite a bit by the great Alfred Hitchcock. The theme here; an american in a foreign country becomes a witness to a heinous crime and starts investigating himself; bears more than a little resemblance to many of Hitchcock's films. An innocent man finds his morbid curiosity getting the better of him and as he progresses in his investigations he puts himself in grave danger. The story unfolds in a similar way to Hitchcock's films, clues are gathered periodically and there's a surprise in the end which is hard to guess, but not impossible.
Argento gradually builds up the suspense and creates a genuinely intriguing mystery. The film never slows down too much and it never fails to be interesting. It's also got a surprising amount of laughs. But in comparing Argento to Hitchcock, Argento manages to create a style of his own, which he would perfect in Profondo Rosso aka Deep Red a few years later. That's of course the visual style. Here he has the assistance of one Vittorio Storaro and the visual aspect of this film is one of it's greatest assets. The film is wonderfully lit every single time and Argento switches effortlessly between dark and dreary visuals to shiny happy images. Argento's visual style is one of his greatest trademarks and it bears some influence from the likes of Mario Bava. I don't want to name any particular scenes, they all flow well together.
Another terrific Argento trademark is the music. Ennio Morricone's score is nothing short of fantastic, ranges from cathcy repetetive melodies to haunting sounds of fear. I think the impact from Argento's films would lessen considerably would it not be for those terrific scores he gets every time.
However, Argento is not perfect. He seems to lessen his standards when it comes to the acting department. Here, the characters are a bit wooden and he doesn't give them all that good lines to deliver. The dialogue in many of his films seem a little childish. And it doesn't look like he gives them many instructions, the acting here (and in most of his films) is shaky and not very consistent. It has been said about Argento that he basically thinks of actors as human props, what's most important is where they are positioned and how they move. Also, it's very annoying how he dubs every film, even the american actors have to do voice overs on themselves.
That said, Argento has more pro's than con's. His films are always interesting and wonderful to look at. The Bird with the Crystal Plumage is in my opinion one of his best. 9 out of 10.
With this film, and particularly his next, Dario showed he had been influenced quite a bit by the great Alfred Hitchcock. The theme here; an american in a foreign country becomes a witness to a heinous crime and starts investigating himself; bears more than a little resemblance to many of Hitchcock's films. An innocent man finds his morbid curiosity getting the better of him and as he progresses in his investigations he puts himself in grave danger. The story unfolds in a similar way to Hitchcock's films, clues are gathered periodically and there's a surprise in the end which is hard to guess, but not impossible.
Argento gradually builds up the suspense and creates a genuinely intriguing mystery. The film never slows down too much and it never fails to be interesting. It's also got a surprising amount of laughs. But in comparing Argento to Hitchcock, Argento manages to create a style of his own, which he would perfect in Profondo Rosso aka Deep Red a few years later. That's of course the visual style. Here he has the assistance of one Vittorio Storaro and the visual aspect of this film is one of it's greatest assets. The film is wonderfully lit every single time and Argento switches effortlessly between dark and dreary visuals to shiny happy images. Argento's visual style is one of his greatest trademarks and it bears some influence from the likes of Mario Bava. I don't want to name any particular scenes, they all flow well together.
Another terrific Argento trademark is the music. Ennio Morricone's score is nothing short of fantastic, ranges from cathcy repetetive melodies to haunting sounds of fear. I think the impact from Argento's films would lessen considerably would it not be for those terrific scores he gets every time.
However, Argento is not perfect. He seems to lessen his standards when it comes to the acting department. Here, the characters are a bit wooden and he doesn't give them all that good lines to deliver. The dialogue in many of his films seem a little childish. And it doesn't look like he gives them many instructions, the acting here (and in most of his films) is shaky and not very consistent. It has been said about Argento that he basically thinks of actors as human props, what's most important is where they are positioned and how they move. Also, it's very annoying how he dubs every film, even the american actors have to do voice overs on themselves.
That said, Argento has more pro's than con's. His films are always interesting and wonderful to look at. The Bird with the Crystal Plumage is in my opinion one of his best. 9 out of 10.
An American writer witnesses an attempted murder and gets on the wrong side of the attacker as they try to finish him off to keep him from investigating any further.
While not as explicit as future gialli, The Bird With the Crystal Plumage ushered in a new kind of suspense film. It's violent, gory, and overtly sexual at times. The major twist is a real shocker.
While not as explicit as future gialli, The Bird With the Crystal Plumage ushered in a new kind of suspense film. It's violent, gory, and overtly sexual at times. The major twist is a real shocker.
Dario Argento has come a long way since his first giallo. With classics such as Deep Red, Suspiria and Tenebrae under his belt he is often recognised as Italy's greatest horror director (rightly so). His style that he uses in all his movies is very noticeable here. The excellent score, long tracking shots, bloody murders and the shocking twist at the end. Although Bird with the Crystal Plumage is not as gruesome as his others and the twist not as shocking, he had to start somewhere.
Sam, an American writer in Rome witnesses the stabbing of woman in an art gallery but is powerless to help as he is trapped between two glass doors. The woman survives though, and the police tell Sam she is the first surviving victim of a serial killer. The police keep Sam in Rome which annoys him quite a bit but he soon starts to investigate after someone tries to kill him.
Bird with the Crystal Plumage, although not his best work, is still an intriguing and well-made movie. The acting is good, the score excellent and the twist sure surprised me! This is highly recommended for Argento fans.
4/5
Sam, an American writer in Rome witnesses the stabbing of woman in an art gallery but is powerless to help as he is trapped between two glass doors. The woman survives though, and the police tell Sam she is the first surviving victim of a serial killer. The police keep Sam in Rome which annoys him quite a bit but he soon starts to investigate after someone tries to kill him.
Bird with the Crystal Plumage, although not his best work, is still an intriguing and well-made movie. The acting is good, the score excellent and the twist sure surprised me! This is highly recommended for Argento fans.
4/5
If you are just getting to know the works of Dario Argento, THE BIRD WITH THE CRYSTAL PLUMAGE is a great place to start. A masterful giallo from, arguably, the best director of the genre.
Filled with mystery, murder, and menace, this film is one of the foundation stones for all future serial killer / stalker horror. Argento's now-famous imagery and quirky characters are on full display, adding texture to his tale of a man (Tony Mustante) targeted by a homicidal madman after witnessing an attempted murder.
There are no dull moments, and Argento shows why he is the rightful heir to Bava's throne...
Filled with mystery, murder, and menace, this film is one of the foundation stones for all future serial killer / stalker horror. Argento's now-famous imagery and quirky characters are on full display, adding texture to his tale of a man (Tony Mustante) targeted by a homicidal madman after witnessing an attempted murder.
There are no dull moments, and Argento shows why he is the rightful heir to Bava's throne...
One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed and Written by Dario Argento; Produced by Salvatore Argento (an Italian-German co-production); released in American by UMC (United Marion Corporation). Photographed by Vittorio Storaro; Edited by Franco Fraticelli; Music by Ennio Morricone. Starring Tony Musante, Suzy Kendall, Enrio Maria Salerno, Eva Renzi and Mario Adorf.
Argento's first film is an Italian tour of Hitchcockland. This tale of psychological terror is an incredibly scary murder mystery about a black hatted and coated maniac on the loose in Rome. Fine photography by Vittorio Storaro and Ennio Morricone's beautiful/terrorific score help to build up tension. The key to the mystery is shown but is quite difficult to spot. It's quite representative of the new "case study' style of psychological horror films.
Argento's first film is an Italian tour of Hitchcockland. This tale of psychological terror is an incredibly scary murder mystery about a black hatted and coated maniac on the loose in Rome. Fine photography by Vittorio Storaro and Ennio Morricone's beautiful/terrorific score help to build up tension. The key to the mystery is shown but is quite difficult to spot. It's quite representative of the new "case study' style of psychological horror films.
Wusstest du schon
- WissenswertesIt has been alleged that Tony Musante --- known for his intensity and preparedness as an actor --- would frequently show up at Dario Argento's apartment at 3 am to discuss characterization, much to Argento's annoyance.
- PatzerWhen pursuing the hit man "Needles", Sam describes him to a hotel bellboy as wearing a yellow jacket and a blue cap. At no point is Needles seen wearing a blue cap, although he does manage to shake off his pursuer by mingling with a group of people wearing such a uniform. However, Sam only sees them after giving the description.
- Zitate
Inspector Morosini: Right! Bring in the perverts!
- Alternative VersionenWest German theatrical version was cut by ca. 10 minutes (plot scenes). For TV broadcasting these scenes were reinserted but the violent scenes were trimmed instead.
- VerbindungenEdited into Tales of the Cat (2001)
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprache
- Auch bekannt als
- El pájaro de las plumas de cristal
- Drehorte
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Box Office
- Budget
- 500.000 $ (geschätzt)
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Oberste Lücke
By what name was Das Geheimnis der schwarzen Handschuhe (1970) officially released in India in English?
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