CheerVision VOD | CheerVision TV+ - High-Quality Entertainment, Now in Your Hands CheerVision VOD | CheerVision TV+ - High-Quality Entertainment, Now in Your Hands
Save
6.0
Rating
  • Very Poor
  • Poor
  • Fair
  • Recommended
  • Highly Recommended
Rated 722 times
  • Very Poor
  • Poor
  • Fair
  • Recommended
  • Highly Recommended
扫描观看

QR Code

  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.
Expand

Resource List

Related Suggestion - Actor

Related Suggestion

弗里斯基
Yasser Michelén,阿德里娅·阿霍纳
格鲁特码头
Syb van der Ploeg,Milan van Weelden,Jan Arendsz
谋杀之城
Mike Colter , Jesse Garcia , Stephanie Sigman
弗里斯基
Héctor Medina,Eros de la Puente,阿德里娅·阿霍纳,豪尔赫·佩鲁戈里亚,路易斯·阿尔维托·加西亚,Manuel Alejandro Rodríguez Gomez,Pedro Martínez,Jorge Enrique Caballero,赖尼尔·迪亚兹,Alexis Valdés,Orestes Amador,米丽娅姆·索卡拉斯,奥马尔·帕丁,Euriamis Losada,Pedro Martinez,Alain Mesa,Yasser Michelén,Thalia
打倒他们
克里斯托弗·阿波特,巴里·基奥恩,科尔姆·米尼,诺拉简·努恩,保罗·雷迪,亚伦·赫弗南,苏珊·林奇,康纳·麦克尼尔,Adam Behan,Diarmuid de Faoite,Gail Fitzpatrick,尤塞夫·奎恩,Grace Daly,Tom Leavey,Martin Gilligan
我家真快乐
小日向文世,户田惠子,高桥海人,樱井由纪,山田杏奈,江成一树,江原由希子,岩崎加根子,木村绿子,角野卓造,井上顺,村田雄浩,三田佳子
没事,没事,没事!
没关系 没关系 没关系!,It's Okay!
荷兰镇
妮可·基德曼,盖尔·加西亚·贝纳尔,马修·麦克费登,裘德·希尔,杰夫·波普,伊萨克·克拉斯纳,莱南·帕拉姆,瑞秋·塞诺特,克里斯·维塔斯凯,River Brooks,Jens Frederiksen,Bill Russell,安德鲁·索德罗斯基,雅各布·莫兰,Irene Dewyn,乔纳森·帕夫洛夫斯基,Sue Rock,Heather Marie Olsen,Bethany DeZelle
马耳他
Estefania Pi?eres,Patricia Tamayo,Emmanuel Restrepo,César Badillo,Lorena Castellanos,迭戈·克雷莫内西,Raúl Cuellar,Iván Herrera,Nina Jung,Juan Manuel Lenis,Mateo Merchán,Luis Penagos,Tonatiuth Ramírez,Edwin Riveros,Angela Rodriguez,Andrés Ríos,Gonzalo Sagarmínaga
焚城
刘德华,白宇,莫文蔚,谢君豪,王菀之,王丹妮,廖子妤,林保怡,王敏德,周文健,郑则仕,黄德斌,何启华,魏浚笙,梁仲恒,林家熙,黄恺杰,吴彦姝,童瑶,姜大卫,许恩怡,区嘉雯,郭伟亮,张达明,白耀灿,张达伦,张松枝
焚城
消防员,Cesium Fallout
消防员
郭度沅,刘在明,周元,李裕英,金敏载,吴代焕,李俊赫
勇敢面对黑暗
韦尔·普莱斯,杰瑞德·哈里斯,尼古拉斯·汉密尔顿,杰米·哈里斯,托拜厄斯·西格尔,马丁·贾维斯,斯科蒂·迪贾科莫,埃莉斯·哈德森,乔纳斯·戴维斯,Ava Wrubel,Shannon Destiny Ryan,Searra Sawka,Sasha Bhasin,Phillip Chorba,Kathy Patterson,Lauren LoGiudice,Cole Flanders,科尔·特里斯坦·墨菲,Carol Florence,Matt R Stover
虽然只是弄丢了手机~最终章~最后的黑客游戏
虽然只是弄丢了手机 最终章 最后的黑客游戏,虽然只是弄丢了手机 最终章
财富流感
玛丽·伊丽莎白·温斯特德 , 拉菲·斯波 , 洛兰·布拉科 , 蒂莫西·斯波 , 乔纳·豪尔-金 , 凯撒·东布瓦 , 理查德·塞梅尔 , 迪克西·艾格瑞克斯 , 亚历山德拉·玛桑凯 , 安娜·罗莎·德·埃萨吉雷·巴特勒 , 菲利普·舒尔 , 格雷格·奥维斯 , 迈克尔·约翰·特雷纳 , 伯纳德·布伦 , 埃里克·古德 , Nick Dutton , 马克·基托 , 埃琳娜·桑兹 , 吉奥古·萨伍艾斯 , 科林·摩根
  • 片名:不安
  • 状态:HD中字
  • 主演:英格丽·褒曼 马蒂亚斯·维曼 雷娜特·曼哈特 
  • 导演:罗伯托·罗西里尼 
  • 年份:1954
  • 地区:其它
  • 类型:剧情 
  • 频道:内详
  • 上映:未知
  • 语言:其它
  • 更新:2025-02-03 22:42
  • 简介:  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.

本网站所有内容均收集于互联网主流视频网站,不提供在线正版播放。如果侵犯了您的权益,请通知我们,我们会及时删除侵权内容,谢谢合作!

Search History
Clear
Popular Searches
本地记录 云端记录
Login