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.李涂卻不理她，起身不知道去干什么了，張喻一個(gè)人在客廳里坐了半天，也不見(jiàn)李涂的身影。二十分鐘過(guò)去了，也不見(jiàn)他下來(lái)，張喻喊他，也沒(méi)有人回應(yīng)。張喻不明所以，如果不談了，她是不是可以回去了。但離開(kāi)總得告別，張喻想了想，還是往樓上走去，剛要敲李涂的房門(mén)，門(mén)就從里面被打開(kāi)了。李涂穿著浴袍，擦著頭發(fā)，顯然是剛剛洗過(guò)澡，張喻能聞到他身上淡淡
片名：《不安》
制片地區(qū)： 其它
導(dǎo)演： 羅伯托·羅西里尼
編?。?羅伯托·羅西里尼
主演： 英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特
看過(guò)《不安》的網(wǎng)友對(duì)這部影片的評(píng)價(jià)
我真的永遠(yuǎn)都吃這種只憑一點(diǎn)棋逢對(duì)手的惺惺相惜，就能迅速地一起出生入死共同干一票大事的戲碼，可是現(xiàn)實(shí)生活中人與人之間想要建立起信任卻實(shí)在太難了
有神作劇本打底，很難拍得難看。本土化之后，故事更為接地氣，背景代入感強(qiáng)，整體優(yōu)化得通俗易懂，容易吸引人入坑，可謂一次極其成功的翻拍。
戲劇張力貫徹始終，幾場(chǎng)戲教人拍案叫絕。好看全程無(wú)尿點(diǎn)，兩位影帝正常發(fā)揮，談判專(zhuān)家身份反轉(zhuǎn)成為談判對(duì)象，這個(gè)設(shè)定本就把戲劇沖突拉滿(mǎn)！
