《不安》是1954年上映的意大利/德國(guó)電影，由羅拔圖羅西里尼導(dǎo)演。英格麗·褒曼，Mathias Wieman，Renate Mannhardt主演。
中文簡(jiǎn)介
Kubricks采取的智慧，他從來(lái)沒(méi)有離開(kāi)世界的想法，接觸地面。他嘲弄觀眾第一次與色情電影，然后用片，并拒絕提供任何一方。他娶他的第三任妻子40年，直到他死亡。羅塞利尼仍然英格麗褒曼結(jié)婚時(shí)，他針對(duì)香格里拉市Paura ;他們被通奸愛(ài)好者和他們的不忠廣泛批評(píng)香格里拉Paura是一個(gè)故事，一個(gè)noirish之一。黑色陰謀的解決和故事都有圓滿(mǎn)的結(jié)局。城市是黑色；該國(guó)的故事，在童年的領(lǐng)土是有可能的。轉(zhuǎn)型期的運(yùn)作最經(jīng)常的方式：由汽車(chē)，長(zhǎng)期持有的拍攝，從前面的車(chē)，因?yàn)槌俗牡缆罚驗(yàn)槿绻覀冞M(jìn)入了一個(gè)不同的層面。艾琳（伯格曼）開(kāi)始的電影：我們剛才看到一個(gè)黑暗的城市景觀，但她的語(yǔ)音旁白告訴我們，她的憂(yōu)慮，并告訴我們，這個(gè)故事是一個(gè)倒敘，她的。 Bergmans被欺騙了她的丈夫。起初認(rèn)罪僅僅是心理折磨，但很快擴(kuò)展到經(jīng)濟(jì)訛詐，然后轉(zhuǎn)化成別的東西。從開(kāi)始到結(jié)束的電影注重的是伯格曼認(rèn)為，任何其他性質(zhì)是為了讓她覺(jué)得事情。只有當(dāng)主任贈(zèng)送的陰謀面前的主要特征可以看出，他希望我們能感受到的東西伯格曼仍然不能。當(dāng)她發(fā)現(xiàn)，我們已經(jīng)經(jīng)歷了扭曲力學(xué)情況，我們可能會(huì)重點(diǎn)再次情緒影響它的Bergmans艾琳。在La Paura treasons沒(méi)有想象的，但實(shí)際的，是蓄意的惡夢(mèng)夫婦蛇毒suppurates在痛苦的方式。不用說(shuō)，英格麗還有她的粗車(chē)，但在電影中羅塞利尼doesn't不敢把她帶走像他那樣在歐洲51歲，他也沒(méi)有放棄她的不可思議的impassivity大自然（斯特隆波里）。他的禮物還不超越和脆弱的結(jié)論，不是在意大利旅行。他只是讓他的妻子多的童話(huà)結(jié)束作為一個(gè)真正的女人可以有一個(gè)人文景觀，她終于可以有賓至如歸的感覺(jué)。回到國(guó)家，一個(gè)半室內(nèi)點(diǎn)燃現(xiàn)場(chǎng)，陰影顯示，舒適的睡眠。畢竟，它的“仙女教母”誰(shuí)講的最后一句話(huà)中的電影。
英文簡(jiǎn)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 Kubricks last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothys reassuring childish motto "theres no place like home" is ironically updated to the adult circumstantial adage "theres no sex like marital sex". Kubricks 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. Bergmans 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 cant. 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 Bergmans Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couples venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesnt 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, its the "fairy godmother" who speaks the last words in the movie.
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不安 Non credo più all'amore (La paura) (1954).豆瓣電影.2024-03-12
不安.貓眼電影.2024-03-12