Strategia del ragno

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.

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.

"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."

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.

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.