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Wh enever I s ee L a Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adulter y makes both fil ms ti ck but in d ifferent ways. I thi nk Phi llip Fren ch was right on the mo ney when he pointed out a Wizard of Oz thing in Kubr ick's la st w ork. Like Doro thy, Tom and Nicole go through fantasies and nightma res and at the end Dor othy's reass uring chil dish motto "the re's no pla ce lik e home" is ironi cally updated to t he adult circumstantial adag e " ;there's no se x like marital sex ". Kubr ick' s take i s intellectual, he n ever leaves th e world of ideas to to uch the ground. He taunts the audience first with an erotic movie an d then with a thr iller and refu ses to deliver eith er o f them. He was mar ried to his third wife fo r 40 years, until he died. Rossellini was still married to Ingrid Be rgman when he d irected La Paura; they had been adulte rous lovers and their in fide lity widely criticized La P aura is a tale, a noiris h one. The noir intrig ue is solved and th e tale has a happy ending. The cit y is noir; the countr y is t ale, the t erritory where chil dhood is possible. The transition is op erated 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 differ ent dimen sion . Iren e (Bergman) start s the mo vie: we ju st se e a dark city la ndscape but her voic e-over narration tells us of her angst an d informs us that the story is a fl ashba ck, hers. B ergma n's been cheating on he r husband. At first guilt is just psychologica l torture but s oon ex pands into eco nomic blackmail and the n grows into something else. From begi nnin g to end th e movie focuses on what Bergm an feels, every other ch aracte r is th ere to ma ke her feel somethi ng. Only when the director gives away the plot be fore the mai n character can find o ut does he want us to feel som ething Bergman still can't . When she finds out, we have already experienced the warped m echanics of the situ ation and we m ay focus once again on the emot ional impac t it h as on Ber gman' s Irene. In L a Paura treasons are not imagined but rea l, nightmares are deliberate and the couple's venom suppurates in bitte r ways. Needless to say, Ingrid has a nother of her ro ugh rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he a bandon her to the inscrutable imp assivity of nature (Stromboli). His gift is less tra nscend ent a nd fra gile tha n the conclusion of Via ggio in Italia. He just gives hi s wife as much of a fairy tale ending as a real w oman can h ave, a hu man l andscape where she can fi nally feel at h ome. Back to the country, a half lit in terior scen e where shadows s uggest the comfort of sleep. After all, it' ;s the "fairy godmother" who speaks the last words in the movi e. 说到这里，她把她在幽古战场好不容易拍来 的宝物拿出，“师父，这 是我们在大拍卖会上拍到的春月莲子，一共有四十 九枚，听云天海 阁的朋友说，他们的宗主，以前就服用过不 少春月莲子，您试试看，有没有用 ，如果有用，我们以后多替您留意着。
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