沉(🔪)稳、内敛, 不太爱说话, 初次接#[展开全部]
沉(🔪)稳、内敛, 不太爱说话, 初次接触还给人不好接近的感觉, 基本上除了工作，不跟其他人多说一句废话，整个人的(👏)气场都是(🎍)冷淡沉着的。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.그들은 울고 침묵한다. 그리고 사랑하고 가슴이 쓰리다. 누구에게도 말할 수 없는 그들만의 사랑 그리고(🎃) 아픔….容隽打高尔夫球的时间(🔃)安排得很(🤷)早，慕浅被迫(pò )六点钟就起床，整个人都是强(〰)打精神的状态，再加上她也不会打高尔夫(🦓)，所以(yǐ )始终(zhōng )有些恹恹的。The investigation of a girl's murder leads a young police inspector to explore the darker and more ambivalent side of Roman nightlife. The inspector's enquiries soon verge on obsession, leading him to play a perverse game into which he also drags his girlfriend.这以至于张秀娥没得到充分的练习，竟然把赵秀才教的给忘记(jì )了(le )！听说(🦓)张(zhāng )医生原本是计划后天离开的。霍(huò )靳西缓缓道，怎么会突然改变行程。不(bú )在啊。女生回答，倾尔今天(tiān )去面试家教(✅)(jiāo )的工作(💅)了，你不知道吗(ma )？不(🏕)多时，沈瑞(ruì )文从会议室里出来，回到自己的办公室接了个重要(yào )电话。[收起部分]
