剧情：
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is th e other w ay ar ound. Adultery makes bo th films tick but in differ ent wa ys. I think Phillip French wa s right on the money when h e pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and night mares and at the end Dorothy's rea ssuring c hildish m otto "there' ;s no place li ke home" is i ronically updated t o the a dult circumstantia l adage "there's no sex like ma rital sex" ;. Kubrick's tak e is intelle ctual, he never leaves t he world of ideas to touch the ground. He taunts the audience first with an erotic mov ie and then wit h a thriller a nd refuses t o deli ver either of th em. He wa s ma rried t o his t hird wife for 40 years, until h e died. Ross ellini was still marrie d to Ingrid Bergma n wh en he directed La Paura; they had been adulterous lovers and th eir infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the ta le has a ha ppy endin g. The city is no ir; the coun try is tale, the territory where chi ldhood is possible. The t ransit ion is opera ted in the most regular way : by car, a long-he ld shot taken from the front of the car as it rides into the road, as i f we were entering a diffe rent d imension. Irene (Bergman) starts the movie: we just see a dark city lan dscape but her vo ice-over na rrati on tells us of her angst and i nforms us that the s tory is a f lashback, hers. Bergman's been cheating on her husban d. At first guilt is jus t psychological tortur e but soon expands into econo mic blackmail and the n gro ws into something else . From begi nning to end the movie f ocuses on what Berg man feels, every other character is th ere to mak e her feel somet hing. Only w hen the director gives away the plot before the main character can find out does h e want us to fee l so mething Bergman still can&# 39;t. When she f inds out, we have alr eady experienced the warped m echanics of the situation and we may focus once again on the emoti onal impact it h as on Bergma n's Irene. In La Paura treasons are not imagined bu t real, n ightmares are deliberate and the couple's venom suppurate s in bitter ways. Needless to say, Ingrid has another of her rough r ides in the movies but Rossellini doesn&# 39;t dare put her aw ay a s he did in Europa 51, nor do es he abandon her to t he inscrutab le impassivi ty of natur e (Strom boli). H is gift is less transcendent and fragile than the concl usion of Viaggio in Italia. He just gives h is wife as much of a fai ry tale endi ng as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a ha lf lit interior scen e where shadows suggest the comf ort of s leep. After all, i t9;s the "fai ry godmother" who speaks the last words in the movie. 此时，球中的陆灵蹊在小小的水镜中，清楚地看到了外面的一切，她小心地戳 了戳蓝玉板上的另一个 好像半圆的符文，腰间一股柔力袭来，把 她挤到一边，一张好像全由小网织成的东西，从两端连结到到一起，看着……似乎是可以躺的
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