不安

剧情简介

Whenever^ -I s e/,(
e La Paur!(a I think! of it @ @$as a co mpanion piece to Eyes Wide Sh?+ut, or maybe^ it i@(s the other way/:? around. Adulter?y makes^-: bot+h films tick \ but in diffe,*rent ways. I t^:hink* Phillip French was r@ight^ o $n t;#[he # money when ^-he. _[ pointed $out# a Wizard of%+( Oz ;
(t h ing in Kubrick's l=;ast work. Like Dorothy, (Tom)- an@d Nicole g`o _]throu`.$gh f:.$antasies and \$nightma-)re;s and at the en`$?d Doro!thy's ^!)r?ea^/:ssurin)g childish:%, m?otto ther\
e's= no p\/$]lace like -%`home is :`ironic/!a %l\\(ly_  updated to,] the adult circum$stantial([\: a@ dage there':)s no sex like# marit` al se!x:+. Kubric`k's take is /inte``l`@lectual , h+e never lea-*$ v
es the world of i+?d=;eas to touch the g -round. He- t\$au$nts the aud ien[ce  first *!w_=(ith an er[..otic# movie/ and then with a+\ thriller)$ *!and refuses+) to deliver either% o\f them. He ,,!!was marri*=ed to his third wif@;e for 40[ years, %^until  /he died. ;@;!Rossellini was= s=till ma(\rried t)_o I+_?ng=rid Bergman when h[#=[e direc/@ted La Pa\?ura; they had_#  been adu^(+lte-$:r) #ous lovers a($nd their i^[*nfid@^el ity widel`y critici^ (zed La P!_aura i$._? s a tale, a n #,\oirish 
]o]+ne. T,%he no:_;ir int,(rigue is solved@ and ?t]%,^he ta;*:le has a__ happy ending. The ()$- city is n!/$oir+-,; the:[\ coun[try is tale?*[, the ter=ritory?@ wh^%
ere childho+
od is po ssible. The+== transition is $$ operated i![n the#% most @;r@egular wa`.y by,=
c,#ar, a ,long-held,? .shot t: aken from t])he fro*/nt `)of the car] as it\\]`^ r`!ides+_?)_ into$ .the + road, as if we were entering a @=different dimens[ ion. Irene (Bergma)-n) ; star
.ts t+)(he movie we just `@*see a dark `cit);y land)scape but he)r voic!e-over narration tells us+ of her]* angst and`.  +#informs us that the story is -:a -fl^/a$shb!
ack, hers. Ber:_ gm;a?^n's- bee=:(n-: cheating on @ her
__ !.husband.,. At %fir=s../t #(g#)u
)ilt; is just psyc,.hologi cal t!o`rtu+re but soon @expands :@into-) econ. ]omic blac\ kmai-$l and th*;en gro-
ws into some!)thing else. From be[/g-inning to end the movie fo-@cuses ?o/n what Ber[=gman feels, every o(%th;er c\haracter is- the;re to make her feel s ;ome+:th%_in][#g. Only *when the!? d[irecto%=r*] giv;es away th$-e , #plot before the
. main charac/ter $!can f;ind out does he want us to feel so)`+methi]%ng Bergm-
?an still ca]^\!n't. When s@?he f \i+,n %
ds out ,] we+;*% have alrea
dy :
experience# *d the warped ))mech =anics of the si/\t? uation^  and we may fo#,cus`; once  ;again on ]t he emotional [] i= m](pact+ it] [has on Berg[man's@+ Irene.]! In L a Paura trea#,.sons are not ima-#=gined but real, nightmares are deliberate and the couple's venom %suppurates in bitter w ;,ays. Nee%`d.less t=$^o+ say, (/Ing?,rid has anot[?`her of her r:ough%+[! rides in the movies but Rossellini do.esn't dare put her a [,+way[` a*? s !he did ;in `!Europ.`a 51, .no ^r does h__e aba;ndon her to the i nsc r/uta/==bl:!`e impassiv!-ity^:= #of na-ture (Stromboli). His gi_ft i#/s less transcendent and _%\fragile than the conclusion `
of V^*iag[^[gio +in Ita\ lia. ^=He just ; gives?+ ) his wif;`;e as)-^ mu;@:ch o%/f a f[,air!y= t%-ale end? ing as ^\a rea l w[_*oman can ` h
ave, a!]/ human lan `
*^dscape %,where
$s-$he *can?* ]@fi
nally feel at home. Ba /+ck $[$to the co],untry, a\:; $\half: lit in terior,% scene %^=whe$_re shadows +.^suggest the co@. mfor\ -t of sleep. After all, it's the fair+.y godmother wh*(o speaks t he last #@words in th^\\e movi *e.