影片导演:罗伯托·罗西里尼
影片主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
资源类别:正片全集未删减
入库时间:2024-04-15 07:33:26
资源更新:HD中字
总播放次数:988
观点:本站-神马影院于2024-04-09 04:04:32添加的该影片,影片别名: 恐惧 Fear Angst La paura,此影片整体上来说对我个人向言还是很不错的,特别是
英格丽·褒曼,马等演员们的演技真实自然,完全把剧本想表达出来的思想都表现出来了,能引来观众们的共情,是一部不错的剧情片。剧情发展扣人心弦,转折处跌宕起伏,影片的开头和结尾首尾呼应,值得一看。
本站对这个影片的评分约5.0分,大部分人觉得影片觉得还行吧。
到目前为止已有“1647”人观看,其中“988”人已点赞,“659”人已收藏,希望大家喜欢。如果您被《不安》
深深吸引了或者有自己的观影评价,可以留言或评论哦。
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or
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.
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