Opiniones de usuarios

I found interesting to watch this movie since I noticed in it some characteristics that were to be strongly noticed in later films, such as the pleasure for the beauty of the composition (every image caught by the camera is very carefully thought before, considering all the elements in it, from a mirror to a chair, to a flower pot; and also studying its position, wheter the person speaking should be in the center or not, distances, etc.). Bertolucci has also put, I think so at least, a lot of time in this details (which marks a difference from other filming methodes such as those of, let's say, Godard, even though both are worth watching), which grant the film a great artistic quality, since it is very beautiful. I also see in this film the tendency for mixing stories in different times (remember the last emperor?).

A part from this observations, this film has a story to be followed, not as intriguing or as fascinating as others... but still worthy to reflect on. Even though this is a political film, that's not even subtle or hidden, the main theme of this one is, in my point of view, the creation of myths, the creation of heros, idols... Fernando Pessoa, a portuguese poet, said that a myth is "a nothing which is everything". This film confirms it. Athos Magnani, the father, is an absolute nothing, despite his pseudo idealism, he made nothing in concrete except... becoming the hero of those people, except becoming one more reason for the fight. Even though he was admired for that, he wasn't particularly smart... just a bit more educated, and he just saw the chance of immortality... in his death. This is a myth, and myths, at least like this, only exist if people believe them.

Beautiful landscapes, not spectacular acting (the actor who plays both athos Magnani is not exceptionaly convincing as the son but gives an interesting performance as the father). Also a good use of the non original music especially the excerpts from Il Rigolletto. I too enjoyed that the director resisted to the temptation of showing exactly the murdering; he did it in a better way. All this and a Bernardo Bertolucci starting to reveal all he would become.

Made the same year as Bertolucci's better known 'The Conformist', this look at the legacy of fascism in a small Italian town certainly has many strong points. Beautifully shot, with some interesting plot twists, and subtly surreal touches it's always interesting.

A son returns to a town where his father – an anti-fascist fighter in the years of Mussolini – was murdered by person(s) unknown, and has been made into a martyr and a hero by the locals. The son meets those who knew his father, and as he tries to discover the truth about what happened in the past, the reality gets more and more complex.

A touch of the conventional thriller runs through this in a good way, keeping the story focused, even when the film-making techniques are a little more obscure or baroque.

Only the slightly flat acting, which feels a bit phony and distancing, keep this from seeming more like a full-on masterpiece. It's as if Bertolucci wanted to engage only our heads, when nothing would have been lost by pulling in our hearts as well - something I think he succeeded with in "The Conformist"

That said, given that many see this as Bertolucci's best film, I'll watch it again.

After having searched high & low for this ridiculously hard to find film by Bernardo Bertolucci, I finally got a watchable VHS print recently (thanx, Scott). It has been praised by many a critic & film scholar, and deservedly so. Leonard Maltin may not know much, but he was right on the money when he said that this film contains some of the most staggeringly beautiful cinematography ever put on screen. If only somebody would get this on a proper DVD (Criterion, if you're not too busy considering another re-release of The Rock...). The story is, on the surface, a sort of 'search for the truth' mystery/quest that quickly turns into a complex examination of 'the nature of truth'. The pace is slow, and there isn't much in the way of action, mostly just dialog scenes and gorgeous location shots. But I for one was totally engrossed (my wife seemed to dig it as well). Speaking of pace, this struck me as being quite Tarkovsky-esquire a film (barring a few odd cutaway shots), especially with that last scene that puts the whole film into a different spin. Fascinating, heady stuff, but not for all tastes and will be rewarding more to those who are patient and attentive.

A young man named Athos Magnani (Giulio Brogi) arrives at the small Italian town of Tara. Magnani's aim is to discover who killed his father, a local hero and anti-fascist, decades earlier. The script makes many references to Mussolini, the Italian fascist leader of the 1930s.

An essentially political film, "The Spider's Stratagem" contains deep themes related to personal identity, the definition of heroes, as well as perceptions of, and the truth about, others. Events and people are not always what they seem to be. The thematic depth is enhanced by competent cinematography, with some clever compositional camera shots.

And yet, I found this film hard to like. There is an overall sense of gloom, with a drab landscape and bleak characters that seem more symbolic of ideas vis-à-vis real people with personal lives. Direction trends theatrical and stagy. And some plot elements seem either unnecessary or deliberately opaque.

Acting also seems stagy and contrived, which may have been the director's intent. Alida Valli's performance is terrible. I dislike the way she smiles at the most inappropriate times. Further, the viewer must endure periodic outbursts of grand opera.

I am thus ambivalent toward "The Spider's Stratagem". It has adequate thematic depth, for viewers wanting a thought-provoking film. But the slow-moving plot is something of a trial to sit through, with irksome characters and gloomy visuals. I found it not entertaining.

Maybe a second viewing, when I have more time to digest the film's political themes, will render an impression that is not so alien and forbidding.

Quite a film, combining lush photography with brilliantly realized scenes, one after another in fact, from the beginning arrival of the train to the ending, set on the waiting platform of the train station, with a story that weaves in and out of the present (1970) and past (1936) about fascism and the difficult and ambiguous forms the opposition took to combat it. Set in Italy's Po River valley in the town of Tara, it beautifully mixes the cinematic elements of plot, music, character, photography, etc... with a story about the well kept secret of how a man's father became a local hero in the struggle against fascism. Like any society caught in repression, the heroes we know today, who led the fight, maybe were forced by the circumstances of the times to take actions that could only be understood in the context in which they took place. Bertolucci does a great in dramatizing that inherent ambiguity that lies under the statue of the popular hero that is in the center of the town. There are some scenes that simply stand out, especially the outdoor dance (1936) where the hero and the fascists eye each other, and then he grabs the prettiest girl there and has all the dance floor while the camera goes from face to face. But in a film that is so well composed, this is but one of the highlights, none of which would mean much if the whole operation didn't have such an astute level of direction guiding it. For a film that relies so much on image, it says a lot, and doesn't squander any of its characters.

This may be Bernardo Bertolucci's best film. It is certainly one of his most assured and technically accomplished. The complex narrative is an exposition of the ideological uses of history (both political history and personal history). A young man returns to his "martyred" Father's village to discover the exact reasons for his father's death at the hands of Facists. He also discovers more than he may want to know about his father's personal life - including intimate details from his father's mistress. The supposedly heroic life and death of his father is greatly complicated by the actual evidence and suggestive clues he discovers. The editing, cinematography, mise en scene, and acting in this film are breathtaking. Yet the film's triumph lie in the philosophical and political suggestions provoked by the narrative. This is a film worthy of myriad viewings.

Somehow I always thought this was Bertolucci's first film. It isn't. But it looks like it. Here's a director with a huge potential, a cinematographer who'll soon be one of the greatest, but they still have a long way to go. We were young and Bertolucci was very left-wing so it was de rigueur to find this great, but in fact it was boring. The plot meanders on, the acting is wooden, and in the end you don't know if there was a story there at all. Bertolucci has become an icon, maybe more because of the scandals adhering to his films than of the intrinsic worth of his cinematographic output (in contrast to for instance Ettore Scola). No scandalous scenes in this one though, just plain pretension and showing off.

"Capitalizing on the auditory accompaniment from Verdi's RIGOLETTO and AIDA, THE SPIDER'S STRATAGEM sustains Bertolucci's usual orotund flourishes (Ligabue's paintings in the opening credits, a metaphorical gaze into a male lion) with beguiling long takes and precipitate editing choices. If it is far less trenchant and intricate than THE CONFORMIST, that may partially be ascribed the thin material on offer, also, not helped by Brogi, albeit a fine, good-looking actor inhabiting Athos with piss and vinegar, who makes for a less compelling protagonist for audience to contemplate and engage than Trintignant in his most expressive inscrutability."

"Strategia del ragno" (The Spider's Stratagem), directed by Bernardo Bertolucci in 1970, is an intellectually stimulating film that delves into themes of memory, history, and identity. Set in the fictional Italian town of Tara, the film follows Athos Magnani (Giulio Brogi), who arrives to investigate the circumstances of his father's assassination. His father, also named Athos Magnani, was a local hero and resistance fighter during World War II. However, as Athos delves deeper into the past, he uncovers a web of deceit and conflicting narratives that challenge his perceptions of truth and heroism.

Bertolucci's direction is both meticulous and atmospheric, creating a sense of unease and ambiguity that permeates the entire film. The town of Tara, with its decaying architecture and enigmatic inhabitants, becomes a character in itself, symbolizing the decaying memories and hidden truths Athos must confront. The cinematography by Vittorio Storaro is particularly striking, utilizing chiaroscuro lighting and carefully composed shots to enhance the film's moody, contemplative tone.

The narrative structure of "Strategia del ragno" is nonlinear and fragmented, mirroring the protagonist's journey through a labyrinth of recollections and revelations. This storytelling approach, while intellectually engaging, can also be disorienting and challenging for viewers, requiring close attention and a willingness to piece together the puzzle. The film's deliberate pacing adds to this complexity, often lingering on scenes and dialogues that may seem opaque or inscrutable at first glance.

Giulio Brogi delivers a compelling performance as both the son and the father, navigating the dual roles with a subtle intensity that underscores the film's exploration of identity and legacy. His portrayal of the younger Athos, in particular, is imbued with a quiet determination and vulnerability, making his quest for truth both poignant and relatable.

One of the standout scenes in the film involves Athos encountering Draifa (Alida Valli), a woman who was once his father's lover. Their conversation, fraught with unspoken emotions and cryptic revelations, encapsulates the film's central themes of love, betrayal, and the elusiveness of truth. Valli's performance in this scene is especially noteworthy, bringing a depth and complexity to her character that resonates long after the scene ends.

Despite its many strengths, "Strategia del ragno" is not without its flaws. The film's abstract narrative and slow pacing may alienate some viewers, and its dense thematic content can feel overbearing at times. Additionally, the emotional distance maintained by Bertolucci's clinical direction may prevent audiences from fully connecting with the characters and their plights.

In conclusion, "Strategia del ragno" is a thought-provoking and visually captivating film that challenges viewers to question the nature of truth and the reliability of memory. While its complexity and deliberate pacing may not appeal to everyone, those willing to engage with its intricate narrative and rich thematic layers will find much to appreciate.

Bernardo Bertolucci's "Strategia del ragno" (The Spider's Stratagem) is a labyrinthine exploration of memory, myth, and political idealism that showcases the director's burgeoning talent while occasionally getting tangled in its own complexities. Released in 1970, this film marks an important step in Bertolucci's evolution as a filmmaker, blending elements of mystery, political commentary, and surrealism into a challenging narrative tapestry.

Based on a short story by Jorge Luis Borges, the film follows Athos Magnani Jr. (played by Giulio Brogi) as he returns to his father's hometown of Tara to investigate the circumstances of his death. As Athos delves deeper into the past, the line between reality and myth becomes increasingly blurred, with the film's narrative structure mirroring this confusion.

Bertolucci's direction is both the film's greatest strength and, at times, its weakness. His visual style is undeniably impressive, with carefully composed shots that often carry more narrative weight than the dialogue. The use of color is particularly noteworthy, with the golden hues of the Italian countryside contrasting sharply with the shadowy interiors where secrets lurk. However, Bertolucci's penchant for ambiguity sometimes crosses the line from intriguing to frustrating, leaving viewers struggling to piece together the fractured narrative.

Giulio Brogi delivers a nuanced performance in the dual role of Athos Jr. And his father, Athos Sr. His ability to subtly differentiate between the two characters while maintaining a sense of their shared identity is crucial to the film's exploration of generational legacy and the weight of the past. Alida Valli, as Draifa, one of Athos Sr.'s former lovers, brings a haunting quality to her role, her performance embodying the town's inability to move beyond its mythologized past.

One of the film's standout scenes occurs when Athos Jr. Attends an outdoor opera performance. The merging of the operatic drama with the unfolding mystery of Athos Sr.'s death creates a surreal, dreamlike atmosphere that encapsulates the film's themes of performance, reality, and historical narrative. This scene exemplifies Bertolucci's skill in creating visually striking set pieces that resonate on multiple levels.

The film's exploration of fascism and anti-fascist resistance in Italy is both timely and timeless. Bertolucci deftly weaves these political themes into the fabric of the mystery, using them to comment on the nature of heroism and the way societies construct their historical narratives. However, the film's political commentary sometimes feels overly oblique, potentially limiting its impact on viewers not well-versed in Italian history.

Vittorio Storaro's cinematography is a highlight, capturing both the sun-drenched exteriors and the shadowy interiors of Tara with equal skill. His work significantly contributes to the film's dreamlike quality, enhancing the sense of a town trapped in time.

The pacing of "Strategia del ragno" may test the patience of some viewers. Bertolucci takes a deliberately measured approach, allowing scenes to unfold slowly and often prioritizing mood and atmosphere over narrative clarity. While this approach yields some beautifully crafted moments, it can also lead to periods where the film feels somewhat static.

For cinephiles and those interested in the evolution of European art cinema, "Strategia del ragno" offers a fascinating glimpse into Bertolucci's developing style. Its exploration of memory, myth, and political idealism remains relevant, even if its execution is not always entirely successful. While not Bertolucci's most accessible work, it stands as an important and intriguing entry in his filmography, showcasing his willingness to experiment with form and narrative in ways that would influence his later, more widely acclaimed films.

It's definitely true this movie is not just for everyone and you also really need to be in the mood for it to watch it. It's the more slower type of movie, that besides doesn't lay out everything for you. Sometimes you have to fill in the blanks and interpret certain sequences for yourself in order to keep following it and understand things.

However when you really take the time to sit down for this movie, it's definitely more than worth it. It's a pretty fascinating watch, with a good concept and story in it.

It's great to watch how the movie its 'mystery' slowly gets unraveled and the puzzle gets put together by the main character Athos Magnani, who returns to the town where his father got killed. Not only does he try to find out who killed his father but perhaps more importantly, also the reason why.

It's great to watch the dynamics between him and the townsfolk. Some are helpful, others reluctant. It gives the movie a great atmosphere of tension and mystery as well. You never know who is telling the truth and what the motivations and reasons behind it all are.

There are also some good twists in the movie, especially toward the end. The movie its ending does not disappoint!

Deinetely worth checking out if this looks and sounds like your kind of thing!

8/10

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A left wing intellectual trying to make a movie out of a Borges short tale? The results are a mighty, un-filmable disaster of epic proportions. Obviously, if the director had disappeared after this, we wouldn't even be discussing this ... but he didn't, so we must find value and depth in a preposterous piece of c***p.

La Strategia del ragno is a beautifully shot, superbly acted movie with a lot of twists. At fist glance the story depicts a man, Athos Jr, who has to solve the murder on his father, Athos Sr. This is asked of him by his father's mistress. Later it becomes clear that that story is the strategy of the mistress to get him to replace his father (the two are identical). The third story that runs through the movie is why Athos Sr was in fact killed. It seems he's a traitor, but it's my guess that he staged his own death from the beginning (including his treason), without his friends knowing. The only one who finds out the whole truth is Athos Jr. The way these stories are told and how they interact is magnificent. There's nothing in the movie that shouldn't be there. Don't try to understand my very short summary, just watch the movie. The Last Emperor is not Bertolucci's best, although I like that one, too. This movie should be in the top of the top 250.

Borges' s short story, included in his classic « ficciones « , is par excellence , the work almost impossible to transfer to the screen ; the author wrote that his story could take place in Poland ,in South America ,you name it ;he opted for Ireland ,circa 1824 ;Bertolucci transposed it to the Fascist years in Italy;in fact ,in both the original material and in the movie, politic,unlike in say "Novecento" , takes a back seat to an universal subject : the frontier between hero and traitor is blurred, the vision they give to the crowds ; it was a challenge to film this five-page dense story ,and the director took it up with success. The bust with empty eyes is decidedly fascinating.

Ryan ,the murdered traitor/hero Fergus Kirpatrick's great grand son , becomes Athos Jr investigating on his father's murder ; influenced by murder mystery past master Chesterton,Borges ' pages are close to a labyrinthine detective story ,so it's only natural that Athos comes back to the place of the tragedy ,to be confronted with a harrowing contradiction : the clues which Ryan found in the manuscript (imitation of Shakespeare's plays) find an adequate equivalent on the screen. Smartly blending present and past , adding an ambiguous character -his father's lover ,played by the great Alida Valli-,and wandering through landscapes where time seems to have stood still , Bertolucci takes us through the garden of forking paths .Not a facile movie, but Borges' metaphysical vertigo is not either.

Based on a story by Jorge Luis Borges, Strategia Del Ragno The Spider's Stratagem) is a mysterious drama about a young man, Athos Magnani, Jr. Who returns to the small Italian town of Tara where his father had been murdered thirty years previously. There he runs into a gallery of old eccentrics and becomes acquainted with Draifa, his father's ageing mistress (Alida Valli). The rest of the film concerns his interactions with the three suspects who may have had a hand in murdering his father.

A great patriot, his father was the chief architect in a plot to assassinate Benito Mussolini during his visit to the town. But the circumstances of his death are shrouded in mystery. He was shot and killed during a theatrical performance in a playhouse. But who among the three living conspirators pulled the trigger? As the movie progresses it emerges that there are other factors at play and the question arises whether his father was really the great hero he was made out to be.

One of Bernardo Bertolucci's lesser known gems, this wonderful film makes superb use of the rolling Italian countryside. The performances are excellent especially Alida Valli as the slightly neurotic mistress and Gulio Brogi as Athos Magnani Jr. Searching for his father's killer. The movie is superbly photographed by the great Vittorio Storaro.