Spider

spider is a strange but beautiful film. don't let yourself be influenced by all the intellectual approaches to define the plot of the movie. it's not necessary. spider whispers a silent story about different perceptions of reality and truth. it is touching and rather adressing the heart than the brain. the story is driven by a strong sexual theme concerning the relationship between mother and son.

the performances are throughout excellent. cronenberg hat created one of his best films. go and see it.

I've read a few of the other user comments about this film and often words and phrases like pretentious, dull, boring, lacking in entertainment are used. All fair comments, it is definitely not a film for a fantastical exciting escapist experience - however, I would suggest that a little effort on the part of the viewer will pay big dividends.

The first thing to say is that the actual plot of the film is not the main focus of the film. This is all about the madness, and subtle questions that are raised and need to be held in your mind throughout.

Every scene provides vital information, but do not forget we are seeing inside the 30 or 40 year old memories of a man who has spent most of his life in a mental asylum. I would not advise taking any scene at face value, particularly the flashbacks.

It is a challenging film and may at first seem to lack coherence, or be artsy for the sake of it. However, like the jigsaws that appear in the film in various forms it is the final pieces that are the hardest to deal with and potentially the most dangerous.

And at the end we are left with a question - is Spider's trauma the cause of his insanity, or is his insanity the cause of the trauma.

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.

We watch Spider (Ralph Fiennes) at the present time, trying to live at a boarding house which takes pity on people who should legally be in mental institutions, and, in parallel action, watch him reliving his childhood, doomed to stand watching those events play out again and again, an observer as impotent as he felt when they originally happened.

This film is a mystery into the character and history of Ralph Fiennes' character. Its a little film, dealing with the mind of one troubled little man, and a patient film. Its also a very mature film from Cronenberg, where he has done away with the shock tactics of the past, and the results are delightful. But if you don't like patient films (and you might see it as a slow film - don't expect big action, expect to watch a fascinating character - and maybe discover why he's so troubled), watch any of Cronenberg's previous efforts instead.

Its not a very big or important film - not one of the most essential films of 2002, but if you've seen those more important choices, and are looking for something different, Spider may just be an interesting, atmospheric experience for you.

8/10. Maybe I was just in the perfect mood for it, but i loved Spider. I thought it was a beautiful and atmospheric character study. Spider is a real unique character, brought to life vividly by Ralph Fiennes.