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《不安》的动人之处藏在褒曼结尾那个未曾完成的回头里。没有台词，只有台灯暖光落在她发梢，和安东尼奥偷偷摸她手背的指节——罗西里尼从不说“理解”，却让两个被生活撞得遍体鳞伤的人，在一针一线里，完成了最温柔的互相认领。褒曼演这种内敛角色比好莱坞时期更自由，几场独角戏里她坐在窗边或走在街上，情绪全靠呼吸节奏托着，比任何痛哭都结实。 适合谁看：习惯塔可夫斯基或安哲罗普洛斯那种"闷"的人，会喜欢这片子的时间质感；研究1950年代欧洲女性处境的，也能从对话缝隙里抠出东西。 ☁。不是“隐忍”或“报复”，是一个人习惯了“为另一个人活着”的肌肉记忆——她爱这件事本身，爱“被需要”的幻觉，甚至在真相败露后，还对着烫好的西装轻声说“明天见”。
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.相关搜索：
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