不安 Non credo più all'amore (La paura) (1954)

不安 Non credo più all'amore (La paura) (1954)
又名:恐惧,Fear,Angst,La paura
导演：罗伯托·罗西里尼 Roberto Rossellini
主演：英格丽·褒曼 Ingrid Bergman/马蒂亚斯·维曼 Mathias Wieman/雷娜特·曼哈特 Renate Mannhardt/于尔根·米克施 Jürgen Micksch/库尔特·克罗伊格 Kurt Kreuger/埃莉泽·奥林格 Elise Aulinger/克劳斯·金斯基 Klaus Kinski/埃迪特·舒尔策-韦斯特鲁姆 Edith Schultze-Westrum/赫尔曼·米拉科夫斯基 Herman Millakowsky/Renzo Rossellini Renzo Rossellini/卡洛·卡利尼 Carlo Carlini/海因茨·施纳克茨 Heinz Schnackertz/瓦尔特·博斯 Walter Boos
上映日期:1954-11-05
语言:德语
片长: Italy: 75 分钟
上映地区:西德,意大利
种子资源数:4
豆瓣评分: 7.0 IMDB评分:6.7
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.
译文(2): 每当我看到 La Paura 的时候，我都会把它看作是《大开眼戒》的伴奏曲，或者恰恰相反。通奸使得这两部电影的节奏不同，但是方式不同。我认为菲利普 · 弗兰奇在库布里克最后一部作品中指出绿野仙踪的事情是正确的。和多萝西一样，汤姆和妮可也经历过幻想和噩梦。最后，多萝西那令人安心的幼稚格言“没有地方像家一样”被讽刺地更新为成人间接格言“没有性像婚姻性行为一样”。库布里克的观点是理性的，他从不离开思想的世界去触摸地面。他先是用色情电影来嘲弄观众，然后又用惊悚片来嘲弄观众，但他拒绝把这两部电影中的任何一部搬上舞台。他和第三任妻子结婚40年，直到他去世。罗西里尼在执导《 La Paura 》时仍与英格丽 · 褒曼保持着婚姻关系; 他们是通奸的恋人，他们的不忠广受批评。《 La Paura 》是一个令人厌恶的故事。黑色阴谋得到解决，故事有一个圆满的结局。这个城市是黑色的，这个国家是童话故事的，这个地方是童年是可能的。过渡是以最有规律的方式进行的: 由汽车，一个长期举行的拍摄从前面的汽车进入道路，好像我们进入了一个不同的维度。艾琳(伯格曼)开始电影: 我们只看到一个黑暗的城市景观，但她的画外音叙述告诉我们她的焦虑，并告诉我们，这个故事是一个倒叙，她的。伯格曼一直在欺骗她的丈夫。一开始，罪恶感只是心理上的折磨，但很快就扩展成经济勒索，然后发展成别的东西。电影从头到尾都聚焦在伯格曼的感受上，其他每一个角色都是为了让她感受到一些东西。只有当导演在主角发现之前就泄露了剧情，他才希望我们感受到伯格曼仍然感受不到的东西。当她发现，我们已经经历了扭曲的机制的情况下，我们可能会再次关注的情绪影响伯格曼的艾琳。在 La Paura 中，叛逆不是想象出来的，而是真实存在的，噩梦是故意的，夫妻俩的毒液以痛苦的方式化解。不用说，英格丽德在电影中还有另外一段艰苦的旅程，但是罗西里尼不敢像他在《欧罗巴51》中那样把她关起来，也不敢把她丢给大自然那种不可思议的冷漠(斯特龙博利)。他的天赋没有 Viaggio 在意大利的结局那么卓越和脆弱。他只是给他的妻子尽可能多的童话结局，一个真正的女人可以有，一个人的风景，在那里她终于可以感到在家里。回到乡村，半明半暗的室内场景，阴影暗示着舒适的睡眠。毕竟，是“仙女教母”说出了电影的最后一句话。