La stratégie de l'araignée

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.

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.

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.

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.