不安

Kubricks採取的智慧，他從來沒有離開世界的想法，接觸地面。他嘲弄觀眾第一次與色情電影，然後用片，並拒絕提供任何一方。他娶他的第三任妻子40年，直到他死亡。羅塞利尼仍然英格麗褒曼結婚時，他針對香格里拉Paura ;他們被通姦愛好者和他們的不忠廣泛批評香格里拉Paura是一個故事，一個noirish之一。黑色陰謀的解決和故事都有圓滿的結局。城市是黑色；該國的故事，在童年的領土是有可能的。轉型期的運作最經常的方式：由汽車，長期持有的拍攝，從前面的車，因為乘坐的道路，因為如果我們進入了一個不同的層面。艾琳（伯格曼）開始的電影：我們剛才看到一個黑暗的城市景觀，但她的語音旁白告訴我們，她的憂慮，並告訴我們，這個故事是一個倒敘，她的。 Bergmans被欺騙了她的丈夫。起初認罪僅僅是心理折磨，但很快擴展到經濟訛詐，然後轉化成別的東西。從開始到結束的電影注重的是伯格曼認為，任何其他性質是為了讓她覺得事情。只有當主任贈送的陰謀面前的主要特徵可以看出，他希望我們能感受到的東西伯格曼仍然不能。當她發現，我們已經經歷了扭曲力學情況，我們可能會重點再次情緒影響它的Bergmans艾琳。在La Paura treasons沒有想象的，但實際的，是蓄意的惡夢夫婦蛇毒suppurates在痛苦的方式。不用說，英格麗還有她的粗車，但在電影中羅塞利尼doesn't不敢把她帶走像他那樣在歐洲51歲，他也沒有放棄她的不可思議的impassivity大自然（斯特隆波里）。他的禮物還不超越和脆弱的結論，不是在義大利旅行。他只是讓他的妻子多的童話結束作為一個真正的女人可以有一個人文景觀，她終於可以有賓至如歸的感覺。回到國家，一個半室內點燃現場，陰影顯示，舒適的睡眠。畢竟，它的“仙女教母”誰講的最後一句話中的電影。

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 Kubricks last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothys reassuring childish motto "theres no place like home" is ironically updated to the adult circumstantial adage "theres no sex like marital sex". Kubricks 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. Bergmans 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 cant. 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 Bergmans Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couples venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesnt 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, its the "fairy godmother" who speaks the last words in the movie.