不安
简介
Whe^=never .I see La Pau_ r.`[a I )- (thi/[ )nk of it a [ s a compani?# -on piece to E# yes Wide Shut, #$(or maybe it $is the o$[-ther w+$ay around. Adultery, mak*es$$@ both films tick but i?. -n different ways. I think Phi=.:llip French was r^^ ig%.ht on, !.the ] !money when =he po!;inted o.ut a %=.Wizard ;of Oz thi%/:ng in Kubric=k+='s last work. Like Do`ro thy, (T%( -om )@ and Ni]_$?[cole go^=# through fa.+ntasies and nightmares _:an .-^d at t\ *he end Doroth :+y's _%rea @ssuri,!ng chi$^ldish m.;otto "the=]r$;e's no place# #.like home" is ir@ ]@onic,- ally! u ?pdated = to the adu #lt ;+circumstan[)/! t ./ial adage * "there's ` .*no, ?`sex like mar . ?it+ al s;\ex". Kubrick) 's @= take is i ntellect$ ual, he +never le;ave$s! the wor:(.ld of id% :ea# `s ,(to touch the g+r =oun]:;d. He taun ts the audience$ first with ?^an erotic movie% and th e$\n with# a thr;:$iller and refu s*,es to deliv +?er e]@i:=th=er o-(`f them. He was mar] )r)$ied to his third $% wife for ^_40 y[ ^[ears, u[[/:ntil h[ @e ! died#!@. Ro(ssellin`i was ,^]:sti ll married to Ingrid Bergman when he(%,, direct.)ed La Paura th![e%@.y ;]had bee# ]n ;[adul,*\t=ero`us lovers and the_\]ir infidel]-;ity wide! ly criticized La Paura is a tale].], a noiris^h on/^e )=;. The noir intrig](_ue is solved an! d the t ale has a\ hap-py ending. The cit=(y ! is noir the countr) y is tale, the terri\,tory where c$*hildhoo]$d is p\/$ossible. The$ t `rans ition i`]:s ope$_! rated / in the mo; st regular way: by?; c+%ar, a long #?\-held*_ shot taken from $?:the.- front@ * of th #e car as it r# ides into :the roa]/ ^d,*]) as if we were e/`[ntering? a d,*ifferent dimensio[-!n. Irene (Ber-)gma ` n) st$@!arts the* mov, ie::$ + we [:-just see a dark city la,=ndscape but_`?@ her vo, (ice-. ov.er narra ](tio( n tells us^. of h$;.-er ang*%st and i%;:nforms u/ s that %.!the story is a flashb.?ack, -hers. Bergman-('s been che+?ating on# ++her hus:*/ban#d. At_ first g uilt is ju+st :?psychological tor_$$ture but soon, expan*:]ds i+ nto e? con-omic blac#kma@il and$![ then grows into something% else. From ? beginnin[]g to/ end $.!the ##movie focuses on *%wha ?t Bergman feels, every ot$?her- c+haracter i^),s, t=-h - ere to make #-her feel so%`,met`.hing._ Only when the [=direc] -tor gives a+/,way the plot b@+` efore t \[$he main characte)$ =r can -find out +! ,*^\doe_ #s /;he wa=$nt .u =s to feel somethin?` g*` Ber:gman still can& #39` t. Whe!n she finds out, =*= we have already ex peri( enced=* the warpe^! ?d mec=h)\anics of the situatio? n a_nd we may f]_(@ocus once agai_^,[n ]on+ #% th`e $ emotional+? , impact : it$ ha#s (o?#n Be` rgman'. s ^, Irene. In La [Paur^, a treason$^s a)re not imag?!! ined but rea^^l, ni.gh?/tmares are delibe !$rate *)?and the coupl,?e='s venom suppurates in bitter+ ways. Nee^=dless t ;?o s#(:a?+ y, Ingr@? id has an:_other of her rough rides in the movies but Rossel\*lin+i do esn',*t dare ); ]put h^^?er away as*: he!! did in Europa 51, nor do_es h e .abandon h/er to the in ==\s ;%crutabl._e impa_%\ss](_? i^+vi( =%ty of \ , nat -ure (St(romboli) _. His gif t is less transcenden-@ t and fra#gi-le th =[an the): concl)usion of V^\iag*:gio i[n Ital;_ia%. H=e * -j:+ust give^ /s hi s wife^% as mu(-ch of a fai\)r\y ta.-le end ing a s a real w?om$^an: :# can h/:ave,* ( a human landsca p\?e^ where@[ she can finally fee=l :/at home. Back to t he co%untry , a. ha;_/lf lit inter\#.ior scene __ wh/#ere shadows sugge)_ st th$+ e -comfort of sleep. Af..$te r all, it&# @-39s the "fairy g!/_odmother%.-" who speaks the last words i? n- +! t$# he movie.