• 观看记录
    视频
    取消
    推荐搜索
    全部
    电影 不安

    不安

    恐惧 Fear Angst La paura

    影片信息
    • 片名：不安
    • 状态：HD中字
    • 主演：英格丽·褒曼/马蒂亚斯·维曼/雷娜特·曼哈特/
    • 导演：罗伯托·罗西里尼/
    • 年份：1954
    • 地区：其它
    • 类型：剧情/
    • 时长：内详
    • 上映：1954-11-05
    • 语言：其它
    • 更新：2024-06-04 01:19
    • 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.
    1954/其它/剧情 /1954-11-05上映/其它/

    • 关注公众号观影不迷路

    • 扫一扫用手机访问

     立即播放  yhm3u8

    选择来源

    • yhm3u8
    • 闪电
    8.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    豆7.0 549次评分
    8.0
    网友评分
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    豆7.0 549次评分
    给影片打分 《不安》
    • 很差
    • 较差
    • 还行
    • 推荐
    • 力荐
    我也要给影片打分

    扫一扫用手机访问

    首页 电影 剧情片 不安

    播放列表

     当前资源来源yhm3u8 - yhm3u8
     倒序
     yhm3u8  闪电

    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.

    为你推荐

     换一换
    • 正片
      更新HD中字
      堪萨斯
      5.0 堪萨斯/Kansas1988/堪萨斯/Kansas/
    • 更新HD中字
      夜半凶铃
      4.0 刘青/
    • 更新HD中字
      失去的周末
      9.0 雷·米兰德/简·怀曼/菲利普·特里/霍华德·达·席尔瓦/
    • 更新HD中字
      失形
      10.0 杰米·纽曼/马克·达珀/迪内·泰勒/
    • 正片
      更新HD中字
      天堂2
      2.0 天堂2/Jannat/22012/天堂2/Jannat/2/
    • 正片
      更新HD中字
      大马士革掩护行动
      4.0 諜影交鋒(台)/
    • 更新HD中字
      失忆十分钟
      3.0 迈克尔·切克利斯/布鲁斯·威利斯/梅多·威廉姆斯/凯尔·施密德//
    • 更新HD中字
      天才枪手
      9.0 茱蒂蒙·琼查容苏因/查侬·散顶腾古/依莎亚·贺苏汪/披纳若·苏潘平佑/塔内·瓦拉库努娄/莎琳雷特·托马斯/伊戈·米基塔斯/帕辛·宽萨塔彭/萨哈贾克·波斯安吉特/坎嘉娜·维耐潘尼/育塔彭·瓦拉努科洛楚/诺帕瓦特·里基特王/
    • 更新HD中字
      夺命手术
      8.0 海登·克里斯滕森/杰西卡·阿尔芭/泰伦斯·霍华德/莉娜·奥琳/克里斯托弗·麦克唐纳/山姆·洛巴兹/艾利斯·霍华德/费舍·史蒂芬斯/乔治娜·查普曼/大卫·哈伯/丹尼斯·欧哈拉/普娜·贾甘纳坦/王李/Steven/Hinkle/查理·海森/Court/Young/Joseph/Costa/Jeffrey/Fierson/Joshua/Rollins/Ross/Klavan/
    • 更新HD中字
      夺命隧道
      7.0 托尔比约恩·哈尔/伊尔瓦·伯杜德/丽莎·卡勒希德/米克尔·布拉特·西尔塞特/彼得·福尔德/丹尼尔·亚历山大·斯卡达尔/珀·埃吉尔·埃斯克/简·冈纳·勒伊斯/英维尔·霍尔特·拜格德内斯/伊戈尔·内克默/西莉耶·布雷维克/埃尔达·斯卡/凯瑞·豪根·西德尼斯/亨利克·霍尔姆/
     换一换

    最新资讯

    更多
    更多

    评论

    评论已关闭

    剧情片排行榜

    更多