不安

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分类：剧情片地区：其它年份：1954

更新：HD中字/2025-09-13 20:19:24

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

简介：Whenever I see La Paura I think of it as a compani...详情

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不安剧情简介

电影《不安》由罗伯托·罗西里尼执导，赛尔乔·阿米德伊编剧，英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特联袂主演。电影英文名：buan，这部制作精良，有非常优秀的的制片团队制作的电影于1954 在其它档期上映。

关键词：不安库布奥兹追剧补卡鲍拉时弗伦奇

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 an 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.

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网友怎么评价《不安》？

豆瓣网友：剧作看似简单实际上是很显功力的，周正完整，前后呼应，年轻编剧最怕的就是什么都想讲却什么都讲不好，最后四不像。看得出来罗伯托·罗西里尼导演和赛尔乔·阿米德伊编剧是有克制的，把最核心的东西抓住讲好一举反转升华，不错！当然我觉得如果可以的话可以再多一点时长篇幅把时代烙印再深入做一做，显得有厚度就更不错了。

MTIME网友：很喜欢罗伯托·罗西里尼导演的叙事方式，没有特别刻意什么特写哭戏渲染，比较“淡淡”地娓娓道来~《不安》的配乐我也很喜欢，开始部分的节奏让人有些普通感，其他的都渐入佳境。画面，人物，剧情，都很招人。

云夫网友：语言不足以表达我本人对不安现实精彩程度的惊叹，几乎是第一次惊觉，基于现实的创作是如此优异，超越了大多数平庸矫揉的艺术加工。如果没有顶级的戏剧技能（绝大多数小说家们并没有却误以为自己有），小说家们还不如见多识广、现实取材，反而能收获更好的效果。

云夫网友：今年一直纠结的问题确实是自我的价值以及如何过得更有意义，经历太多猝不及防的 1954年，影片不安在告诉我们，活着就是最大的价值。享受当下，过好现在生活的每一天。虽然老生常谈，但配上惊喜的创意、恰当的配乐、这波鸡汤喝的好痛快！

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