不安

剧情简介

　　Wh.(\enever #]I see L-
a */ Pau=ra^ I th!_ink of it) as a companion pi [,ece to Eyes Wide (+Shut^_^,)) o,/r ma!.
ybe it is the other way a ro*%-un/!d. Adultery makes both fil=ms tick but in different` ways.@! /, I think Ph_i[lli;-p(# F/_ren$c+h w$!*as right on th:-_e mon(*ey] when he poi+
`nted`)` out a !Wizard of O+z thing in Kubric=k's la[/st work. =Like )/+Dorothy, Tom and @ Nicole go through fan;;/t%asies an.+!$d n`ightmares- and a;/t the end Dorothy's reas,==)sur%$;ing c,,h(^ildish?$ mott,-o?; &$quotthere&?;\)#39s :;no p:@lace  %=like home
(%" is ]ironically upda?_ted to the adult circumstantial adage &quo?+tthe%^r[e's no sex like marital se= +x&:/quot. Kubrick?@&:+#39s take is intel(l .- ectual, _he never leaves[- the$_ world of id]e=a*s ;#to touch the ground. He taunts the (,_audienc(@!e fi+rst with an erotic movie a\`nd t.hen with a )%#)t_!:hriller and refuse]]s* to del
_;iver ei/,_*th.er of them.,: He was +#ma[;rried t-
o his thir^^d wife ?=f.or 40 year\(s, un*@til he\# died. R ]o s sellini was still married to  Ingrid Ber` gman when `,he di?rected La?+ Paura they had been a.=
dulterous love;;^rs and thei`r infidel (ity
 wi /d\^e+*!ly criticized La Paura is a tale,\ a noir
*ish `\o]@:ne. The noir in@*(.trigue is solved and!.# the tale has a happ
?,y ending. T he city is noir .the co
untry _,is^!,: t*?%ale, the^  terr#^ ito.ry where childho.od$$ is poss ible. The tra_
nsition is`? !*.ope-ra^@ted i$ n the ]`most re,+
$gular way%`:= b\/].y car,] ^a long-held shot taken /! ,from the front of $!the car as it-) rides in#t
o the road, .as if w$ e were enteri\@ng a- d[ifferent d=i

mensio^ n.- ;Ire=ne (Bergman) starts :the movie: we just see $[a dark city landscape but her voice-,

ove#,r narratio n tells us :o:[f he/r a@` ngst and in,?@.fo;?rm,.s us[) =tha[@t@ ;the s^]=tory :/]+is a flashb+.ack, hers. Bergman's been cheati(!ng!, on her h_;#us./ band. At first % guilt is just=: psychological;]- tortur]%*e [: but so]on exp$[,#and_
s*- ]]!into economic blackma@$%*il and,. the
\!n:- grows in(/to s\\omething  else. -From beginning to end $!`the m$ovie fo)?cuses on what^ \-Bergma$#*n*]#$ fee*%l#= s, every oth$(#er character is th \er@@.;e t-@(]o m:ake he?r feel #)something.] On)ly when`\% the dir`[]ector gives away ;
*the p%(?lot\
 before`$^ t/!)he main character can find!#+* out does/=
:he \/?want^ us#  to fe,\
el somet.hing Bergm.#an still]$! can't. When ,she find`s$ out, we h[!ave al(ready experienced the^` warp$  ed / .\mecha\nics o_f the si tuation : (an**-d we may focus on)?ce; again o^/=n t_? he emotio!#na+- l impact it%$ has% on B\-erg(m
a#_n's Irene. In La (Pau?@* ra ^(treason_s are n ?o_t imagined but real,.[] nig *h\tm? __%ares ar-)+=e ;;($delibe@]=rate,- a$n- d\^  t/h #e couple 9s venom suppura #tes?+ in ^;b.;!it=`ter:[ ways. _Needl)
es%?+s to sa,`y, Ing:# rid+*@ h
a( s another of^ her rough rides in th.e movies b^*%ut Ross!e
llini does-n't dare put h$er away as h e di,d in Europa 51, nor does he aband=on her to the insc%=r-)utable i%= ;mpassivity of nature ]`(Stromboli). His gif` t )] $is less tra)/nsc_%e(^/#ndent and fragile_!_^ than
+ the -]concl/usion of Viaggio in Italia. H-e just g.:ives his wife as muc`h o-^- f ():a fa=iry tale ending as.[ a rea*l$ woman; can have, !(^a h!uman land\-_scape where she can f@);;#in,a[=ll=y`% feel at home. `Back to ]%the coun*try,$:
? ;-a h
alf lit in-terior scene where ,shadows\[( sugge-; st the comfort of sl=`.eep. After all, it&:#]39s the &=`quot%fairy godmo[]ther&qu%?[/ot who speak@\s the last w/$ =ords,*: in the ? ,$mo *-vi/% e.