Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, orWhenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.详情
常见问题
不安影片的精彩影评
柳月河弯弯，淌入了碧绿的田野，延伸向遥远的天边，更延伸在孩子们的心间。
姜晚看他那态度就不满了，回了客厅，故意又弹了会钢琴。不想，那少年去而复返，抱着一堆钢琴乐谱来了。
姜晚知道是沈宴州回来了，高兴地站起来，打断他：哈哈，你姐夫回来了，待会介绍你们认识哈。
你能不能别乱弹钢琴了？音乐不是你这样糟蹋的。
宴州，宴州，你可回来了，我给你准备个小惊喜啊！
沈宴州收回目光，推着她往食品区走，边走边回：是吗？我没注意。我就看他们买什么了。好像是薯片，还有牛奶在这里你喜欢哪种？
原剧情里沈景明在末尾出场，也没机会黑化。
。她本来就没想带张春桃走，刚刚也只是想给张秀娥和张春桃点教训而已。
自己这好不容易来了一次，他们才给自己这么点赏银。
聂老爷打量着聂夫人，知道聂夫人做事向来都有分寸，不然他也不可能把这偌大的聂家交给聂夫人打理。
。我喜欢看剧情片电影。《不安》这部剧情片给我的感觉有两点。第一，Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or霍祁然显然没怎么吃过这种街边食物，拿在手里竟然一时不知道怎么下口。