Psychology and Theatrics - The Spider's Stratagem

In the film The Spider's Stratagem, director Bernardo Bertolucci adapts Borges' story of political revoltionary heroism and adapts it to Fascist/post-Musolini Italy. What might have been an overtly political film becomes more of a study of psychological paradoxes played out in both past and present time. The character Athos Magnani Jr, a dead ringer for his father - the assassinated revolutionary hero of Tara - enters into a realm where his identity is made blurry through his connection to his father. The fact that Bertolucci uses the same actor for both father and son makes this even more clear to the viewer. It is almost as if once he has arrived in the town of Tara, Athos has entered another reality that exists outside of the linear time of the rest of the world. (Also, because he is identical to his father, strangers in the town act as if they already know Athos Jr, or have been expecting him)
Indeed, this alternate reality is underscored by the role-playing of many of the characters and the theatrical, staged manner of many of the scenes. This of course is a direct adaptation of the genious of Borges' story - history as a construct. Towards the end of the film, the entire town is transformed into a stage, with Rigoletto playing through outdoor speakers. Athos Jr is pulled into the theatre by deterministic forces rather than of his own will. Or perhaps they are one in the same. In all, the movie is one that calls for analysis as well as a tolerance or appreciation for fantasy. I think Borges would have approved of the adaptation.
- Ciao!

also for anyone interested in the psychology/theater exchange I would reccomend John Fowles The Magus