不安

剧情简介

Whenever I$ see %La Pa@/ura % /I thi:;nk of it as a _^co
mpa:nion pie/$ce to) Eye;s Wide. $(Shut, or ma ybe it $is the oth-er way around. Adul*;te)`ry ma[-+#ke/s both film[#, s t! ick ,#bu_]t in differe nt- way +s. I th+ink Philli?p French was rig ^h_?t on the m-]oney when he pointed out a Wi=z=ard! of Oz t/!h[ing in Kubrick^]\ 's la`@#st work. Like Dorothy@,% Tom -
an:?`!d Nicole go through fantasies a[nd *`nigh,tmares and a+ t t^
he ##+]end Do_$ \rot-*%hy')-^s reassu/ring chil [(dish mo-+(tto;`
 the=\re's no pl#ace like= home `i
@s iron\.\[ic.a `#@lly $?.[updated,^ to the ad@ult c+@_!ircu mstantia*\(l ad age th%.ere' @s`% no  (;sex lik
\e marital sex. Kub-ric ._/k']/s t ake$ ) is intel),?lectua) l, he
.:`n ever leaves the :] !world^, of ideas t;o tou/!]ch the :ground. He ?,taunt!s t).$h\e@*- aud_i$=_
ence first wi$]th a`n erot.ic movie and t+he*:n with^) a[ t-hriller a @nd re.fu+_ses to d` eliver either of them. He:  was ma`rried- to his @
third wife %[for 40 y:_ears, unt/?*\il he died._ Rossellini was stil@$+[l/^ married t @o Ingri,d Bergman (^whe-
n he direc `=%ted La P,aura; +=+t)$.=hey- had been adultero*-us l]overs and their infidelity w idely criticized La Paura is a \tale,.^? a!# noirish on%)-e. The noir $intrigue is solved and the tale has a \happy ending-$;.?  The city is noi[\r; #.the country is ^^tale, the\ terr)(itory whe.: re child -ho;`%$od is +possib+ le.]= The tr?=;ans,_ition is# o. :p#erated in the most r eg,ular wa$ y b !.y car, a -,@lon+g-held shot take) n fr);/om $the ] front of th_e car %].a s i (;/t rides int$o the road, as if w,e were entering @a different /`] dimension. Ire)! ne (Bergman) s
,)t=arts the?- movie we just  see a da)#rk= ci+(%ty/ lan^ dscape bu/t !\her voi:
 ce-ov.er narrati)#:,o%n tells us of her angst an-$d. informs us#) t $ha+t the story? ?- is a flashb@?ack, hers. Ber^g--man's :\been #@c:@%h*e $*`ating
on her ;h%-* usband. A*,t ^]!_-first guilt is_@+ just psychological torture`- @ +-b*
-@ut soon_ expands into economic bla#ckmail a_n.d then grows i%(nto somethin#=g else. From beginning to end the m+)ovie$ focuses( on wha
`t [.-Berg
^m$an feels,_ every other- chara/cter 
[[i(s ther_^[=.e to make her fe] el somethi^ ng.; Only when th [e dire/c=tor giv=(@-es a`;$way %)the pl%,]ot /bef:!o^ re the main character ($can fi(!nd^= ou_@t does he want us to? fee`l something Bergma:/[n s[ti ll]/ ca`#n`@'t. When ;she ,;finds out, we have al#ready expe([ri ?enced t_he `= warped mechanics of th#`e situation and _`we^ may focu]!/s o#. :nce ag ;)ain on th^e. emotio+ ^nal impact i,%])t:@ has_ on Bergman]']#).s Iren;e. ] In [)La@
Paura treasons .a
re not \  imagined but r- #eal\, n?ightmares are delibe;rate a_.nd the couple's ,` ^venom suppurates in bitter * ways [. Needle /@+ss t;*o=)#- =say, Ingrid has a ,noth)er of%, her rough rides\ in the mo]
vie_s=[! but$ Ro +sse(llin/ -!i doe:sn? 't dare put her @= a!way as h#e did in E(?=:uropa]- 51( ,\ n(or d`[$oes he aban]^don /her to[ the in,*scrutab._le im;\p__assivit (y of n//atur;
%!e .(Strombol.i). His gift is] less tra^.nscendent a/$nd fragile t\han th? e conclus]io^n of Viaggio in@ I%talia. He j/\ust g`ives ^\his wife as much %
of a f- airy ta`le e-:nding as a real  ;woman c_ an h?ave,)/- a hum*?]_an landsca\pe where she can finally feel at home. Back to the co=u$`n:-#try, a$. hal;f li^ t interior sc%ene $ whe$%re s had.]]ow,:s sugge`;st the^!= comfort o
f sleep. After all, it'[`s th:.e fairy godmothe*r who speaks the :]la]*]st words i /n the ^-mo\,vie.