Spider - Desafie Sua Mente

SPIDER (2003) *** Ralph Fiennes, Miranda Richardson, Gabriel Byrne, Bradley Hall, Lynn Redgrave, John Neville. Filmmaker David Cronenberg does it again : mixing psychological drama with Gothic mystery with the cloak of violence in the air with Fiennes (in a brilliantly mannered near mute turn) as the titular character, a schizophrenic recently released to a halfway house, nicknamed in his youth by his mother (Richardson who gives an excellent turn to the third power; she inhibits three interlaced roles that act as the story's linchpin) for his cat's cradle yarn confections which sends his scattershot memories into overdrive as he attempts to connect the missing pieces of his life. Told in intersperses of flashback Cronenberg expertly uses his persuasive powers of dread eke out the thin plottings of Patrick McGrath's novel – who adapted the screenplay too – that can tax on the nerves in long, baroque stretches of near silence. Dank, rotting production design by Andrew Sanders, excellently lensed by Peter Suschitzky and the chamber music-like score by Howard Shore makes the most of its broken-minded protagonist's living nightmare.

This film kept me totally engaged during every single second. The acting was no less than you would expect from such a talented cast - brilliant performances from all. Ralph Fiennes is just superb. Gabriel Byrne in probably the most difficult role of his career to date keeps the `secret' to the end. John Neville and Lynn Redgrave, provide the supporting roles with a flare that never upstages the lead actors. Bradley Hall as the Boy Spider gave a fine performance as only child actors can. But it was the Chalk and Cheese characters play by Miranda Richardson that for me stole the show and clearly shows how deep her talents run.

The script, adapted by the author of the book, was powerful without going over the top and was very authentic. Even throwaway lines by supporting actors had meaning and helped convey the power and momentum of this masterpiece `.. seven packets of Crisps and a packet of Embassy.' Many times have I uttered similar words in a London Pub.

The locations were so real, you could smell and tasted them - I grew up in such a places and in the same period as the Boy Spider - every single and highly accurate detail brought my childhood memories rushing back.

The story is real - events like the critical event in this film really did happen and still do.

For international readers, England from the late 70's onwards adopted a 'Care in the Community' programme and every city and major town has halfway houses, like the one portrayed in this film, where newly released inmates of mental institutions are ordinarily just dumped to fend for themselves.

This film is nothing short of a Masterpiece - the real pity is that it won't appeal to a wider international audience.

There are always films that people will either see what the director was going for, or simply won't connect with the film. David Cronenberg's Spider is one of those films.

Many comparisons can be made between this film and the Ron Howard film A Beautiful Mind in that they both examine the complexities of mental illness. Whereas Howard took the glamorous Hollywood style approach -- complete with government agents and associated adventures -- Cronenberg continues to prove that less is more when it comes to film. Spider is significantly more effective in that it does not candy coat its subject, rather approaching the scenario with brute realism.

Cronenberg is certainly one of the most under-appreciated and misunderstood directors of our age in terms of popular appeal. His films are not for mass marketing and popcorn sales, but rather are psychologically and sociologically challenging to the viewer. Cronenberg films generally demand a surrender from the audience to an unsettling reality, and Spider is no different. The fractured perception offered by the protagonist as displayed through Cronenberg's eye is truly unique and refreshing.

If you are the type of person who is up for quick, easy entertainment, Spider is not your film. But, if you want to explore a brilliantly crafted submergence into the strange reality of a mentally ill person, Spider will leave you wanting more. Cronenberg has once again proved that there are few directors of his talent and skill. His ability to create a wholly original feel in film incomparable to any of his contemporaries is always welcomed by this viewer.

This film is one of the most under-rated, I have to say. I know it takes awhile to get into and you have to use your mind while you watch it but it's not THAT complicated, is it? Especially if you watch this film more than once you really become to understand what it is it with Spider. I don't want to give away the plot, because you really have to see it for yourself. It's surprising and pleasantly different.

I have to highlight the acting in the film, it's that superb. All the actors are just simply amazing, taking the acting to a completely new level. So, if you want to try something that's not so mainstream film-making, watch Spider. I dare you.

After seeing every single Cronenberg film I've been able to find, I've come to one simple conclusion: I've seen entirely too little of his works. I have yet to see one film of his that I found a complete waste of time(though I did not find much point in The Brood). This is quite possibly my favorite film of his yet, and I guess that says something about how few of his films I've seen(as this seems like one of his more unappreciated films). The film is quite dark and bleak. It has a fairly slow pace, but there's plenty of atmosphere and I never really felt like turning it off. The plot is very good, and I liked the way it developed somewhat out of joint, with little continuity other than the main plot-line. The acting is superb. One actress performs two roles, and does so with such talent that I never realized they were being portrayed by one and the same person. I only discovered this after checking out the cast list. Spider is a very unsettling film, but I suppose Cronenberg has done far better in other films. For some reason, I just found this the more easily accessible of his films, the one that requires least afterthought to be understood, to decipher what he wanted to say. All of the other films by him that I've seen, I've required to basically 'be told' what the film was about... with this one, I thought for a while after seeing it, and figured it out, put the pieces together myself, without much difficulty. Maybe that's a problem for the film... it's too simple. It's far more simple than the usual Cronenberg, and that is what makes me like it more, and his more experienced and analyzing fans like it less. I recommend this film to any fan of Cronenberg and/or dark films. Don't expect to be able to figure out the film from just one viewing, and don't take anything you see in it at face value. 8/10