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.
把人摔成这样不用负法律责任也太离谱了吧，前面情节好无聊，后面还算有趣点
有十年前看high school musical那味儿了
我好喜欢啦啦操 我好喜欢少女 我好喜欢青春的味道。we are just we
原来是《意外幸运签》啊。就说咋剧情那么熟，看过动画和泰版，可惜一直没有找到过2000电影版
男同导演来诠释的女性永远都那么用劲儿。一看便知，不过这都比一些傻屌自信男导演编剧诠释的好。
澳洲少女昏迷廿年，一朝醒来美国梦碎。美国人连拍青春片的水平都退步了，留下最深刻印象的是2040年要竞选美国总统的印度小美女
无脑但出乎意料地没有成为烂片，出其不意加一星
虽然有点无厘头还是给看完了哈哈哈 看到Love Victor里的两位很惊喜！最喜欢女主作为拉拉队跳舞的part👍🏼以及因为女主昏迷20年对这其中发生的一些事情做的吐槽太精准了哈哈哈哈 印象最深的是指着lady gaga的杂志封面问这是madonna吗lol 最后的最后 毕业快乐🎓btw 我还是不能接受澳洲口音。。。
pitchperfect的胖艾米已经大变身，而且他还放了grow as we go诶，里面的熟面孔真的太多了。
抛开那些强行正直正确的设定，整部片子还是非常能让人乐呵起来的。音乐选的真不错！
Popcorn movie. Good way to kill a sunday night :)
在豆瓣找了半天 原来是被翻译为 《毕业季》挺好看的 但要实现生活中发生这种事情 当事人应该也是会崩溃 毕竟正好青春的20年 女主心理素真的强且把高三叛逆幼稚都演得很是到位 没想到连续看了两部由威尔森主演的电影 纯属巧合 但瘦了确实会更好看了
01:38:13
当20年前的价值观和当今社会价值观的碰撞还是一个很有趣的点，但电影并没有怎么去刻画这一部分。
我为什么会点开看？？乱七八糟的但是又好像有点好看…小妞电影几十年如一日都是这种充满活力的样子，某种意义上挺好的
惊了！rebel wilson竟然这么瘦了？？！
虽然剧情结局一看都能猜到，但是这种永远青春热泪盈眶的题材还是很感动。
我没想到这居然是个治愈剧……呜哇T﹏T 女主哭戏好厉害!!! 说起她妈妈的时候额头哭出来那个青筋～戳我泪点，太治愈了，只有我们能选择我们人生未来的方向!! 仅见过两次的那位女性却是她的人生导师，其实她很幸运!
在豆瓣找了半天 原来是被翻译为 《毕业季》挺好看的 但要实现生活中发生这种事情 当事人应该也是会崩溃 毕竟正好青春的20年 女主心理素真的强且把高三叛逆幼稚都演得很是到位 没想到连续看了两部由威尔森主演的电影 纯属巧合 但瘦了确实会更好看了
竟然能在2022年的网飞大电影里看见《独领风骚》的女主角。只有爱你的人说的才算。好喜欢queer弟的打扮。千禧年怀念风潮可以停一停了。
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