The Spider's Stratagem

It's definitely true this movie is not just for everyone and you also really need to be in the mood for it to watch it. It's the more slower type of movie, that besides doesn't lay out everything for you. Sometimes you have to fill in the blanks and interpret certain sequences for yourself in order to keep following it and understand things.

However when you really take the time to sit down for this movie, it's definitely more than worth it. It's a pretty fascinating watch, with a good concept and story in it.

It's great to watch how the movie its 'mystery' slowly gets unraveled and the puzzle gets put together by the main character Athos Magnani, who returns to the town where his father got killed. Not only does he try to find out who killed his father but perhaps more importantly, also the reason why.

It's great to watch the dynamics between him and the townsfolk. Some are helpful, others reluctant. It gives the movie a great atmosphere of tension and mystery as well. You never know who is telling the truth and what the motivations and reasons behind it all are.

There are also some good twists in the movie, especially toward the end. The movie its ending does not disappoint!

Deinetely worth checking out if this looks and sounds like your kind of thing!

8/10

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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.

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.

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.

"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."