不安 La paura (1954)

  • 导演: 罗伯托·罗西里尼
  • 编剧: 塞尔吉奥·阿米德
  • 主演: 英格丽·褒曼 Mathias Wieman Renate Mannhardt
  • 类型: 剧情
  • 制片国家/地区: 西德 意大利
  • 语言: 德语
  • 片长: Italy: 75 分钟,USA: 84 分钟,West Germany: 82 分钟
  • 又名: 恐惧,Fear,Angst
  • 上映日期: 1954-11-05
  • imdb网址: tt0047336
  • 不安剧情简介
      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.

    标签:  意大利 罗西里尼 英格丽·褒曼 Roberto_Rossellini 1950s 1954 RobertoRossellini 黑白
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    不安评论、影评、观后感
    二月鸟语  2015-04-27
    BJIFF
    旭斌游影志  2014-05-24
    英格丽·褒曼是支撑起这部电影的最大亮点,剧情在针对爱情中的背叛和夫妻间的诚实话题上刻画得颇有建树,特别是在动机得设计上足以称得上悬疑片 戛纳经典回顾系列/观影时间:2014年5月23日
    把噗  2014-05-26
    简单又高妙的手法。
    chillybuster  2015-04-16
    又是一部茨威格。比起电影更适合小说或者舞台剧,用光很好看,配乐就一般了,一到人物特写镜头我就很出戏。结局虽然突兀但这个故事重点不在结局吧。我很好奇那个年代是怎么打电话的,女主之前打电话都要让秘书开电话线为什么最后一场戏又不用了。