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Success usually comes with a price. For some, it is the alienation of their closest friends. For others, it is their downward spiral into addiction and self destruction. For Dario Argento, it was being pigeonholed. His directorial debut, L’uccello dalle piume di cristallo (aka The Bird With the Crystal Plumage), had become an international success and both fans and his investors expected more of the same. CCC Kunst, or Terra-Filmkunst as they became, were a German-based company who had helped fund his previous effort and were now demanding something similar for his sophomore feature. The impact of The Bird With the Crystal Plumage convinced other filmmakers to attempt their own variations, usually containing references to animals in their titles -Una lucertola con la pelle di donna (Lizard in a Woman’s Skin), La tarantola dal ventre nero (Black Belly of the Tarantula), The Case of the Scorpion’s Tail (La coda dello scorpione) and Non si sevizia un paperino (Don’t Torture a Duckling). Unsure on how to progress, Argento retreated to Morocco to unwind and soak in the success of his first movie.
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