The Animal Trilogy
From the very beginning of his career, Dario Argento has managed to create films that have made history in the giallo/horror genre, captivating and enchanting multiple generations. There are numerous elements to consider, countless details to describe, and just as many intricate plots to unravel.
Today’s focus is on a series of films, specifically three, linked by references to the animal world. This is the so-called Animal Trilogy, consisting of L’uccello dalle piume di cristallo (1970), Il gatto a nove code (1971), and 4 mosche di velluto grigio (1971).
Let’s analyze and remember the three films that make up The Animal Trilogy.
The Bird with the Crystal Plumage (1970)
Loosely based on the novel *La statua che urla*, this marks Argento’s brilliant directorial debut with a dazzling thriller that is anything but predictable, accompanied by the stunning score of Ennio Morricone.
Set in Rome, Sam Dalmas is an American working for a natural sciences institute. One evening, he witnesses an attempted murder from the window of a modern art gallery. He sees a struggle between two figures: a girl dressed in white and a man in black, wearing gloves, a raincoat, and a wide-brimmed hat.
The girl is injured, and the man escapes. Although the case is handed over to the police, represented by Commissioner Morosini, Sam Dalmas decides to conduct his own personal investigation, leading him to an unsettling naive painting.
The cat o’ Nine Tails (1971)
In Turin, the story follows Carlo Giordani (a journalist), Franco Arnò (a blind puzzle maker), and young Lori. Carlo and Franco play detectives, trying to uncover who is behind the death of a scientist.
A missing photograph taken at the moment the scientist was thrown under a train is key to the case. This will be the beginning of a trail of deaths and various leads to follow before reaching the solution.
Tension and a certain melancholic tone are highlighted by Morricone’s score in this captivating and intriguing thriller.
Four Flies on Grey Velvet (1971)
Roberto Tobias, a drummer, accidentally kills a man who has been following him for weeks during a scuffle. Coincidence? It seems not, especially after he is subsequently stalked and threatened by a shady figure wearing a child’s mask.
From that moment on, Roberto’s life becomes distressing: this deranged mind follows him everywhere, visits him at night, and leaves copies of the photograph of the crime he committed. But the strange thing is that it’s not a blackmail…
Someone wants to drive him insane before… but why? The unforgettable musical theme from Ennio Morricone is also present here.
But what could these four flies possibly signify?
Compared to the first two, the dreamlike aspect of Argento’s cinema begins to emerge, along with an increasing attention to detail, tension, and the dynamics of the murders.
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