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.
这片子倒也不是不能看，各种还算有所设计的动作片段可供看个乐呵。而在剧情上的胡编乱造和历史观上的颠倒黑白，则令人哑然失笑。本片的妙处是将所谓大英帝国的外强中干展现得淋漓尽致了。
感觉男主爱女主多一些，果然是玛丽苏
我对第一部第二部感觉更好看更深刻一些，第三部感觉不行呀？除了啪啪啪的激情戏我都感觉不到剧情了，他们感觉就是一直互相折嘛，所以第四部又要让我等一年第五部还要等两年是么？好累。。我去追小说了。。
啊你倒是告诉我到底要讲啥呀，也不知道19岁少女是为啥一会成熟一会发疯。而且女主咋还开始的时候那么胖都没法上镜了。男主的演技好像还进步点，他演的伏地魔好像想起来啥样了。 四就不想看了。
各国编剧去绿晋江看看文取取经
故事讲得乱七八糟，前面大量的铺垫跟儿子的剧情，最后就这？？？为了打戏而打戏以及为了加背景音乐而加bgm，最后外面枪声一片大boss就坐在小木屋里等戏份？？？什么玩意儿
狗血爱好者表示这种二十年陈年狗血大可不必，不如拍成A片对大家都好
请给标签再加个“喜剧”。这类型电影十年前特别特别多，基本看了开头就知道后面大致走向，给结局多加一星吧
全世界人民现在一个样，这就是“优雅”一点的英国手撕鬼子。
Wow！我喜欢的类型，竟然……略出乎意料地好！看！共济会阴谋论、小胡子（东西俩，1/2战好几俩）关系、超级大屌神棍传说...真真是把时代当作背景融合，把战争和决斗穿插、在人物关系和历史关联之中以小见大，商业片能拍出这个水准真的厉害了。PS，打斗方面英/欧式的剑斗非常可以！
真就要拍成连续剧啊…这剧情一集比一集狗血…男主也是够倒霉的…
这么烂的电影，本来以为1都看不完，结果不仅看了2还看了3
阴谋论又不敢展开想象力做戏剧化表述，故事张力差，强调白黑结合，可人家欧洲的黑人大多数和白人信仰不一致。这是拍出海扁王的导演。。。唉
最大的反转是主角竟是他自己，还是有些第一部无厘头的气质和英式幽默的。
就是为了造成“继承人没了财产没人继承于是创立kingsman”，死的太莫名其妙
这部真是难看 jo好好看 英雄哥怎么发面了 本来这种光靠颜值和doi戏的“五十度灰”电影就只有这两个卖点了 剧情可以直接忽略 可是为什么英雄哥还发面了 女主倒是更好看了 doi也难看的得要死 以为两个人已经开始貌合神离了 在外都有其他人的程度😅 怎么女导演拍的还不如男导演
整个剧情就是两个字离谱，但不影响我欣赏哈里斯迪金森的美好脸蛋。整部电影最具艺术感的是拉斯普丁跳舞
真的好雷好雷好雷🆘
治疗腿那段，不愧是大英腐国。没想到穿过了枪林弹雨，却被友军一枪爆头，死得如此潦草。
女主形象没刻画完整 看不出学霸也看不出工作能力强 更没看出来如何治愈男主的！还有男主的故事线也是狗血的不行😅
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