不安
简介: 【不安】 W+henever I se^`e La Paura *+I t!@`hink of it a\s a comp$ ani.= =o:;!n piece to Eyes Wide Shut !, or \ maybe it is the oth;`?@er way around. Adult@ er;-y m,akes #both films[$ tic-=#k but i,n +differ]ent w$ays. I th:ink Phi^l\@^lip!`$= French was right on the m+@?o/@ney when he p,,o,inted out -^ !a[/! Wi*zard of Oz^ thing in Kubric!:k's last work. Like Dorothy, Tom and Ni($\cole go th#`rough fa@n !(:tasies and nightmares and =*a\!t the en=d ((Dorothy's r$!:ea*ssuring childi:sh motto ",the-;!re='s no p$lace like .home" is *_[ironica`+lly updated to the adult circum_stan]@/tial adage &q!uo tth$\ e re#.*.': s_# `.no_ s-ex like.# mar,;ital sex". Kubrick's ta:k `e is intellectu*]al, he never leaves the world o.f;% ideas to touch the* g_round. @.He ($taunts the au`! + dience fir +st#\ with an erotic ] movie (\;an d then with a t=hril+/ler=(?[- and refuses to deliv. er ei/$ ther of the!^m. He@ was married to his third w; _i! %`fe fo[ r 40 yea]@rs, un,?%ti +%l` h. -e d%!ied. Rossellini was sti*%@]ll](?( )* married to Ing/rid$ Be@rgman when he directed # La P aura th?!ey had been ad (ult=;erous lo]_vers and their (%infidel]:#ity wid,ely! crit:?^icized La Paura is ! a tale, a no-,#irish on$/#e. The noir #= intrigue is solved an\#d the )tale has a\ happy _ ending. The_!` c`ity ^.* is noir the country[; is tale,^ the terr +it ory where `$[childhood\: is po)@ssi*#? ble?*`. The tran,@sit`! ion is op$$= erate;d in\!. _t#he[+ m(=ost regul(ar w`],ay::- by c@ ar, a long-held shot taken !\)fro;m the@ _fron *t of ,the car / as it rides,.#! int)o t(,!`he\.) road, as if we were entering a different dimension$. Irene (Bergman) s(tar./ts t/he movie: we jus._^t see :a dark/ city* landscape but *_-=her ]voice-ov-er -=narrati!)o@n te#\lls us@%%?` of her: $ an gst and informs,% us that the story is)[ a f/lashb+*ac k;(, hers. ,Bergma?n /39s been chea+ting on$* `her husband. At firs t guilt is just ps)y#,ch$ologica=?l .t-.ortur!e bu .t s=%oon expan %ds$ int@o ec@!onomic blac( ?#kmail and then gr.`[ows i#/nto so meth;i:#ng else. From beginn$)ing to % [end the$$ movie foc-`,`uses- on what Bergman ^.f: eels, ever+y other charact?er is, th_:`ere to make her f;e\)el \,som ething. Onl.y; wh@+%$en ? _the director giv;es away the plot* befor;(]_e \ t/!$he mai]n c haract*:er can find out ^%does he want us to #)`*fee:l something( [Bergma(%n still c_an't.. Whe)%n she finds out\,.(; we= ! have already exp:,er\.ienced th+/e warp,:ed / _m_echanics o`;*f the \situatio?n and we m+ay focus once again\ %%on the emotion.!_al im%;:p=act i@ ]t has on Berg+]`man's Ir:[:=ene. In? La Paura /[trea(sons are not^: i*m_%-agined but real, n\ightm\^$are; )s:# are d- e\[.liberate and the c ouple)*39s v;#[enom suppur)`ate;+=s in bi tter way%@s. Needles /#s]( to say, Ingr? /id has ano`;ther o: f her , r -ou%gh rid- .es =/in the .$,movies but Rossellini?; d^),[oes($n&;#39t dare put h). er awa._(y as=] he did in E@_=uropa 51, :nor does he^ abandon her , to?_ the inscruta`b?le;#% .* imp;-`!as?siv=ity =^of nature (Strom_%boli@). His $gift is less #)transcendent\( an d fragile/\^ #*)th/an:* the co]:,ncl]$usion of Vi,aggio in Itali;[.a. `He just gi)ves his? wife a_((s much of a fairy tale en)-ding as `a real woman can hav`\e^) , a human[/%^ landscape where she ca n finally fee.+l at _\home. \ ]=$ Bac$$k`, to =]the .^#c]ountry, a half lit) inter( +ior! scen^e where shadows suggest the!, comfort_^ of-/ sleep. Aft.e+r al$;? l, it=39s the "fairy god*!mother&%quot who spea]ks /@the last wor*ds in._ the ^#mo?_]v:ie.
剧情简介
【不安】 W+henever I se^`e La Paura *+I t!@`hink of it a\s a comp$ ani.= =o:;!n piece to Eyes Wide Shut !, or \ maybe it is the oth;`?@er way around. Adult@ er;-y m,akes #both films[$ tic-=#k but i,n +differ]ent w$ays. I th:ink Phi^l\@^lip!`$= French was right on the m+@?o/@ney when he p,,o,inted out -^ !a[/! Wi*zard of Oz^ thing in Kubric!:k's last work. Like Dorothy, Tom and Ni($\cole go th#`rough fa@n !(:tasies and nightmares and =*a\!t the en=d ((Dorothy's r$!:ea*ssuring childi:sh motto ",the-;!re='s no p$lace like .home" is *_[ironica`+lly updated to the adult circum_stan]@/tial adage &q!uo tth$\ e re#.*.': s_# `.no_ s-ex like.# mar,;ital sex". Kubrick's ta:k `e is intellectu*]al, he never leaves the world o.f;% ideas to touch the* g_round. @.He ($taunts the au`! + dience fir +st#\ with an erotic ] movie (\;an d then with a t=hril+/ler=(?[- and refuses to deliv. er ei/$ ther of the!^m. He@ was married to his third w; _i! %`fe fo[ r 40 yea]@rs, un,?%ti +%l` h. -e d%!ied. Rossellini was sti*%@]ll](?( )* married to Ing/rid$ Be@rgman when he directed # La P aura th?!ey had been ad (ult=;erous lo]_vers and their (%infidel]:#ity wid,ely! crit:?^icized La Paura is ! a tale, a no-,#irish on$/#e. The noir #= intrigue is solved an\#d the )tale has a\ happy _ ending. The_!` c`ity ^.* is noir the country[; is tale,^ the terr +it ory where `$[childhood\: is po)@ssi*#? ble?*`. The tran,@sit`! ion is op$$= erate;d in\!. _t#he[+ m(=ost regul(ar w`],ay::- by c@ ar, a long-held shot taken !\)fro;m the@ _fron *t of ,the car / as it rides,.#! int)o t(,!`he\.) road, as if we were entering a different dimension$. Irene (Bergman) s(tar./ts t/he movie: we jus._^t see :a dark/ city* landscape but *_-=her ]voice-ov-er -=narrati!)o@n te#\lls us@%%?` of her: $ an gst and informs,% us that the story is)[ a f/lashb+*ac k;(, hers. ,Bergma?n /39s been chea+ting on$* `her husband. At firs t guilt is just ps)y#,ch$ologica=?l .t-.ortur!e bu .t s=%oon expan %ds$ int@o ec@!onomic blac( ?#kmail and then gr.`[ows i#/nto so meth;i:#ng else. From beginn$)ing to % [end the$$ movie foc-`,`uses- on what Bergman ^.f: eels, ever+y other charact?er is, th_:`ere to make her f;e\)el \,som ething. Onl.y; wh@+%$en ? _the director giv;es away the plot* befor;(]_e \ t/!$he mai]n c haract*:er can find out ^%does he want us to #)`*fee:l something( [Bergma(%n still c_an't.. Whe)%n she finds out\,.(; we= ! have already exp:,er\.ienced th+/e warp,:ed / _m_echanics o`;*f the \situatio?n and we m+ay focus once again\ %%on the emotion.!_al im%;:p=act i@ ]t has on Berg+]`man's Ir:[:=ene. In? La Paura /[trea(sons are not^: i*m_%-agined but real, n\ightm\^$are; )s:# are d- e\[.liberate and the c ouple)*39s v;#[enom suppur)`ate;+=s in bi tter way%@s. Needles /#s]( to say, Ingr? /id has ano`;ther o: f her , r -ou%gh rid- .es =/in the .$,movies but Rossellini?; d^),[oes($n&;#39t dare put h). er awa._(y as=] he did in E@_=uropa 51, :nor does he^ abandon her , to?_ the inscruta`b?le;#% .* imp;-`!as?siv=ity =^of nature (Strom_%boli@). His $gift is less #)transcendent\( an d fragile/\^ #*)th/an:* the co]:,ncl]$usion of Vi,aggio in Itali;[.a. `He just gi)ves his? wife a_((s much of a fairy tale en)-ding as `a real woman can hav`\e^) , a human[/%^ landscape where she ca n finally fee.+l at _\home. \ ]=$ Bac$$k`, to =]the .^#c]ountry, a half lit) inter( +ior! scen^e where shadows suggest the!, comfort_^ of-/ sleep. Aft.e+r al$;? l, it=39s the "fairy god*!mother&%quot who spea]ks /@the last wor*ds in._ the ^#mo?_]v:ie.
《不安》是罗伯托·罗西里尼于1954年创作的一部经典剧情片作品, 由英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特等主演,在其它播出后引发了不少观众的讨论和好评。 影片通过 W+henever I se^`e La Paura…, 展现了创作者对于现实生活与情感世界的观察,因此常被不少观众称为“值得二刷、三刷”的剧情片。
很多影迷之所以推荐《不安》, 是因为片中无论是故事线的推进,还是演员之间的对手戏,都有着比较强的张力和代入感。 当你跟随剧情慢慢深入时,会发现每个角色的选择背后都有其不得不如此的原因, 这也让整部作品在娱乐性之外,多了一层对现实与人性的思考空间。
从类型角度来看,《不安》既保留了剧情片应有的节奏和看点, 又在细节上做了不少打磨:节奏方面尽量避免无意义的拖沓桥段,人物塑造上也不简单脸谱化, 而是通过多场戏份逐步丰富角色背景,让观众在追看的过程中逐渐理解他们的选择与矛盾, 从而对这部作品产生更深层次的情感共鸣。
如果你正在寻找一部既有故事性,又具备一定思考深度的剧情片, 那么《不安》会是一个不错的选择。 无论是想在闲暇时间放松心情,还是希望通过剧情获得一些情绪上的共鸣与释放, 这部作品都能够在不同程度上满足你的观看需求,值得在dancihu(dancihu.bgswjd.com/detail-13594.html)完整看完。
