Die Strategie der Spinne

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.

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.

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.

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.

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.