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

Non credo più all'amore (La paura)

导演: 罗伯托·罗西里尼
编剧: 赛尔乔·阿米德伊
主演: 英格丽·褒曼 / 马蒂亚斯·维曼 / 雷娜特·曼哈特
类型: 剧情
制片国家/地区: 西德 / 意大利
语言: 德语
上映日期: 1954-11-05
片长: Italy: 75 分钟 / USA: 84 分钟 / West Germany: 82 分钟
又名: 恐惧 / Fear / Angst / La paura
IMDb: tt0047336

豆瓣评分

7.0

5星

8.7%

4星

38.3%

3星

47.9%

2星

4.5%

1星

0.6%

评价:

不安的剧情简介 · · · · · ·

　　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... (展开全部) 　　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.

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我要写短评

不安的短评 · · · · · · ( 全部 0 条 )

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不安的影评 · · · · · · ( 全部 8 条 )

热门最新好友

把噗 2014-05-26 18:10:26

31

这篇影评可能有剧透

正如英格丽·褒曼在影片中所展现的那样——既不像一位妻子，也没有母亲的样子——再以新现实主义的眼光去评析《不安》，已经不再可行。从影片一开始，画外音的直接暴露内心忏悔就已经将我们带至一个虚构的时空之中，既然远离现实，便可以适用于各种不同质的现实——妻子出轨的... (展开)

情节严重者 2017-02-18 09:16:18

谋杀就是，汽车和独白，中间加一点点等待

这篇影评可能有剧透

行驶中的汽车，速度，人类对超脱的想象，现代性的反噬。角色被画面拒绝，但在声音上宽容。宽容虚假，在于独白总在分岔路口把决定权交回给画面。交回给汽车，交给不节制的速度，就是交给蒙太奇的不确定性，就是毁灭。在谋杀的气氛笼罩之前，这部电影的开头是教堂的塔顶，继... (展开)

五行缺水 2020-02-15 21:39:38

《不安》：论原谅的重要性

原文地址： http://www.qh505.com/blog/post/5683.html 仿佛如一场生与死的实验：艾琳打开了工厂实验室的灯，一个人走了进去，两旁的笼子里装着用于实验的小白鼠、兔子等小动物，她慢慢沿着铁笼子走进去，最后来到了毒药了实验室，由于心情悲伤，她无意中碰翻了桌子上的器皿，... (展开)

kavkalu 2006-07-13 23:27:53

《不安La Paura》途中彼岸

题记：感悟人生不是一句空话，它来自于生命在情欲和道义之间艰难的抉择，在于你战胜兽性，皈依信仰的执着和勇气。每一次选择都是一次机会，不仅仅为了自己，更多的是为了我们有别于兽类的努力。 ――――卡夫卡·陆（KavkaLu） http://www.filmposters.com/images/poste... (展开)

seamouse 2006-12-21 16:29:49

罗塞里尼转入刻画普遍情感

电影史在高度推崇意大利新现实主义电影同时，也理所当然地忽视了那时代导演们改变风格的作品。于是，拍于1954年的本片在罗塞里尼作品中就并不突出，当然罗塞里尼在两年前的《欧洲51》后，也不再“把摄影机扛到大街上”去呼喊“还我普通人”了。战后意大利经济的复苏，让导演们... (展开)

有一些影评被折叠了为什么被折叠？

评论被折叠，是因为发布这条评论的帐号行为异常。评论仍可以被展开阅读，对发布人的账号不造成其他影响。如果认为有问题，可以联系豆瓣电影。

Hormin 2019-03-15 22:52:40

What’s going on?!

这篇影评可能有剧透

影片探讨可能是爱与不忠的问题，事实上折射出的是经典的现代性问题：女性从家庭场域进入职业场域的身份焦虑，以及由此带来的男性对于父权统治遭到挑战的「被阉割」的焦虑——「不安」也好，「恐惧」也罢，这些同质的词语实际上正来自于这些焦虑。这种解读听起来像是基于一种偏... (展开)

默里奇 2015-05-03 00:24:48

用纪录片手法拍戏剧

这篇影评可能有剧透

若以《偷自行车的人》或者《大地在波动》所代表的新现实主义尺度去考察，罗西里尼在《不安》中放置的主题——对两性婚姻的道德式观望——失去了像《德意志零年》那样面向众生的社会意识，镜头也不再对准日常现象，策略和表演也都恢复了传统的古典主义。乍看之下，新现实的... (展开)

> 更多影评 8篇

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