剧情简介
Whenever I see La Paura I think of it as a ompanion piece to Eyes Wide Shut, or ybe it is the other way around. Adultery kes 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 nightres and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the circumstantial adage "there's no like rital ". Kubrick's take is intellectual, he never lees the world of ideas to touch the ground. He taunts the aunce first with an erotic movie and then with a thriller and refuses to deliver either of them. He was rried to his third wife for 40 years, until he d. Rossellini was still rried to Ingrid Bergn when he directed La Paura; they had been erous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir iigue is solved and the tale has a happy ending. The city is noir; the couy 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 (Bergn) 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. Bergn's been cheating on her huand. At first guilt is just psychological torture but soon expands into economic blackil and then grows into something else. From beginning to end the movie focuses on what Bergn feels, every other character is there to ke her feel something. Only when the director gives away the plot before the in character can find out does he want us to feel something Bergn still can't. When she finds out, we he already experienced the warped mechanics of the situation and we y focus once again on the emotional impact it has on Bergn's Irene. In La Paura treasons are not igined but real, nightres 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 won can he, a hun landscape where she can finally feel at home. Back to the couy, a half lit interior scene where shadows suggest the omfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
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