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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
简介：《不安》是由罗伯托·罗西里尼执导的剧情片，英格丽·褒曼，马蒂亚斯·维曼，雷娜特·曼哈特主演。该片讲述了著名科学家阿尔伯特·瓦格纳的妻子艾琳·瓦格纳发现自己被情人的前女友勒索的故事。Kubricks采取的智慧，他从来没有离开世界的想法，接触地面。他嘲弄观众第一次与色情电影，然后用片，并拒绝提供任何一方。他娶他的第三任妻子40年，直到他死亡。罗塞利尼仍然英格丽褒曼结婚时，他针对香格里拉Paura ;他们被通奸爱好者和他们的不忠广泛批评香格里拉Paura是一个故事，一个noirish之一。黑色阴谋的解决和故事都有圆满的结局。城市是黑色;该国的故事，在童年的领土是有可能的。转型期的运作最经常的方式：由汽车，长期持有的拍摄，从前面的车，因为乘坐的道路，因为如果我们进入了一个不同的层面。艾琳（伯格曼）开始的电影：我们刚才看到一个黑暗的城市景观，但她的语音旁白告诉我们，她的忧虑，并告诉我们，这个故事是一个倒叙，她的。 Bergmans被欺骗了她的丈夫。起初认罪仅仅是心理折磨，但很快扩展到经济讹诈，然后转化成别的东西。从开始到结束的电影注重的是伯格曼认为，任何其他性质是为了让她觉得事情。只有当主任赠送的阴谋面前的主要特征可以看出，他希望我们能感受到的东西伯格曼仍然不能。当她发现，我们已经经历了扭曲力学情况，我们可能会重点再次情绪影响它的Bergmans艾琳。在La Paura treasons没有想象的，但实际的，是蓄意的恶梦夫妇蛇毒suppurates在痛苦的方式。不用说，英格丽还有她的粗车，但在电影中罗塞利尼doesn't不敢把她带走像他那样在欧洲51岁，他也没有放弃她的不可思议的impassivity大自然（斯特隆波里） 。他的礼物还不超越和脆弱的结论，不是在意大利旅行。他只是让他的妻子多的童话结束作为一个真正的女人可以有一个人文景观，她终于可以有宾至如归的感觉。回到国家，一个半室内点燃现场，阴影显示，舒适的睡眠。毕竟，它的“仙女教母”谁讲的最后一句话中的电影。
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
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.
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
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...
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
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...
主演：英格丽·褒曼 马蒂亚斯·维曼 RenateMannhardt
导演：罗伯托·罗西里尼
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..
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