不安
影片信息
- 狀態(tài)：已完結(jié)
- 主演：英格麗·褒曼/馬蒂亞斯·維曼/雷娜特·曼哈特/
- 導(dǎo)演：羅伯托·羅西里尼/
- 年份：1954
- 地區(qū)：其它
- 類型：劇情片/劇情/
- 時(shí)長(zhǎng)：內(nèi)詳
- 上映：未知
- 語言：其它
- 更新：2025-01-09 11:20
- 簡(jiǎn)介： Whenever 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.
- 554
關(guān)注公眾號(hào)觀影不迷路
掃一掃用手機(jī)訪問
2.0
網(wǎng)友評(píng)分
386次評(píng)分掃一掃用手機(jī)訪問
劇情簡(jiǎn)介
Whenever 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.
為你推薦
換一換- HD國(guó)語4.0深河迷案/
- TC國(guó)語1.0大鵬/白客/莊達(dá)菲/劉俊謙/劉德華/楊冪/常遠(yuǎn)/魏翔/王迅/孫陽/林雪/宋小寶/付航/張若昀/楊環(huán)宇/劉旸/金廣發(fā)/閆佩倫/童漠男/衣云鶴/梁植/劉仁鋮/羅圣燈/苗若芃/梁超/賈樟柯/樊登/孫悅/大冰/王雨甜/王梓塵/嚴(yán)豐/王議偉/郭豐周/劉占奎/馮力憲/易佳莫/孫睿/顧有利/肖涵齊/王藝龍/馬伯庸/毛方圓/李冠言昕/
- TC國(guó)語3.0陳佩斯/黃渤/姜武/尹正/楊皓宇/余少群/陳大愚/徐卓?jī)?尹鑄勝/
- TC國(guó)語10.0吉祥照相館Dead/To/Rights/
- HD國(guó)語6.0陳霖生/王丹夢(mèng)/拉里·坦查克/西蒙./戈蒂埃/
- HD中字1.0湯姆·希德勒斯頓/馬克·哈米爾/凱倫·吉蘭/切瓦特·埃加福/安娜麗絲·巴索/雅各布·特倫布萊/本杰明·帕杰克/科迪·弗拉納根/凱特·西格爾/大衛(wèi)·達(dá)斯馬齊連/米婭·薩拉/馬修·里沃德/哈維·吉蘭/莫莉·奎恩/薩曼塔·斯洛揚(yáng)/邁克爾·特魯科/卡爾·魯伯利/考莉安卡·基爾徹/拉胡爾·寇利/勞倫·拉維拉/維奧萊特·麥格勞/希瑟·蘭根坎普/
- HD7.0Never/a/Thief/
- 已完結(jié)9.0袁昊/陸妍淇/王大奇/王嶼/魏璐/李思博/張語格/林源/宋星翰/賴雨濛/鄭中玉/張潮/戚九洲/劉哲琿/陳宇星/
- HD10.0神木隆之介/杉咲花/松山研一/小日向文世/小手伸也/櫻田通/宮崎葵/淺野忠信/佐藤浩市/
- HD8.0侯彥西/巫建和/邱以太/詹懷云/藍(lán)正龍/陳柏霖/謝欣穎/林奕嵐/鐘欣凌/白靜宜/嚴(yán)藝文/
- HD5.0吳承軒/江水/劉芯予/王紫垣//
- HD國(guó)語3.0劉子瑞/梁婧嫻/欒茗媛/麥長(zhǎng)青/梁琤/
- HD1.0藤谷理子/鳥越裕貴/本上真奈美/近藤芳正/早織/久保史緒里/
- HD國(guó)語3.0張志勇/馬千壹/黃曉娟/陳霖生/夏沫/李昊儒/
- HD國(guó)語3.0王一加/唐雯雋/劉媛媛/秦曉飛/
- HD國(guó)語8.0陳霖生/王丹夢(mèng)/拉里·坦查克/西蒙./戈蒂埃/
- HD國(guó)語10.0時(shí)嘉/
- HD中字4.0弗里達(dá)·伯恩哈德/阿諾德·博斯/杰爾默·哈爾基奧普洛斯/朱爾斯·埃爾廷/莫妮克·海因克-維赫曼/馬倫·耶賓克/佩品·科法杰/多洛雷斯·雷溫/漢斯·萊格特沃特/克里斯托弗·洛威/阿列克謝·奧夫西安尼科夫/塔尼亞·羅澤博姆/魯斯·薩赫蒂安/馬林·肖爾滕/穆拉特·托克爾/查爾斯·弗歐夫/威米·威爾赫姆/
- HD國(guó)語6.0李樹建/曹佩/江云帆/
- HD中字3.0珍娜·凱內(nèi)爾/漢娜·艾琳/娜塔莎·哈勒維/邁克爾·宋·何/丹妮爾·普勒格/Ariel/Barber/
- HD中字3.0羅素·克勞/凱倫·吉蘭/馬爾頓·索克斯/湯米·弗拉納根/哈里·格林伍德/托馬斯·M·賴特/
- HD中字1.0Michael/J./Patterson/Suzanne/R./Neff/Fair/Rain/
- 豆瓣高分HD中字3.0Universal/Language/加拿大有個(gè)小波斯(港)/
- HD中字9.0阿西夫·阿里/Anaswara/Rajan/Manoj/K./Jayan/
- HD中字7.0杰西卡·格內(nèi)烏斯/安娜貝爾·洛佩斯/Patrick/Joseph/Stanley/Matheus/Edmond/Erthon/
- HD中字10.0多格雷·斯科特/索菲亞·卡爾森/凱瑟琳·麥克馬克/科里·邁爾徹/巴尼·哈里斯/哈里·特雷瓦爾德溫/波佩·吉爾伯特/羅米娜·科卡/尼基爾·帕爾瑪/休·科爾斯/Riz/Khan/Esmé/Kingdom/尼婭·迪肯/貝恩·科拉科/Emma/Jouannet/Georgia/North/Konstantinos/Kavakiotis/雅迪爾·費(fèi)爾南德斯/Florence/Overton/Madelyn/Warner/
- HD
- HD5.0Father/Son/Exchange/
- HD中字5.0The/Flood/Le/déluge/–/Gli/ultimi/giorni/di/Maria/Antonietta/
- HD6.0弗里達(dá)·伯恩哈德/Rosa/van/Leeuwen/Aisa/Winter/莉迪亞·薩多娃/Maksymilian/Rudnicki/Yanoah/Kronnen/Indy-Rose/Kroonen/Djayklin/Lima/Fien/Lindenhovius/Luke/Peters/Heleen/Post/洛拉·范·佐格爾/