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剧情简介 《不安》是1954年的一部动作片。由罗伯托·罗西里尼执导，于尔根·米克施、库尔特·克罗伊格、埃莉泽·奥林格等联袂主演。不安，又名Non credo più all'amore La paura、恐惧。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.
综合评分：
DVD电影网评分7.0，算是一部中等偏上的电影作品，值得收藏看，推荐大家观看。
影迷点评：
赱馬觀♣ 说：结尾处，敲诈女向褒曼透底，其夫才是整起事件的策划者。目的是为了报复她的不忠。褒曼崩溃，夺门而出。此时画外音接管叙事，“我绝望逃离，真相将我彻底摧毁。我头晕目眩，丈夫的行径对我是一种羞辱。驱车来到工厂，我感觉只有一条出路可以让这一切彻底湮没与遗忘。”这种方式就是自杀。她上楼写下了遗书，然后真奔实验室，准备以不会带来任何痛苦的最新实验药剂结束自己的生命……但搞笑的是，上面那段画外音的介入使得观众已不用担心褒曼是否真的会自杀：“我绝望逃离……驱车来到工厂”，通篇过去式动词，配合第一人称事后复述口吻，俨然就是一位重新振作的女性在讲述一段不堪回首的陈年往事。……https://www.douban.com/note/264087267/
ricecream 说：直男癌导演拍摄的投射自己内心世界和婚姻生活的电影 好笑的是 黑色 谋杀 悬疑 情感描写如同小学生作文一般设置简单 说教也让人完全无法信服 当然 导演是罗西里尼 女主角是英格丽褒曼 那么影片的审美是不会低的 众多镜头美如艺术珍品 女主角的服装发型都是那个年代最摩登的造型 对我来说 最好玩的是导演和褒曼的人生经历通过这样一部电影以完全相反的方式解读 事实上罗西里尼自己对和褒曼的婚姻才是不安的 不允许和别的导演合作 牢牢管控褒曼的工作和生活 总是担心褒曼要出轨 这一点在丈夫这个角色上有充足的体现 总想要处于控制和宽恕的更高的地位 觉得女人总是要错的 而他可以站在道德制高点寓意原谅 事实上 出轨的那个是罗西里尼
大浸稽天 说：表现主义的打光，黑色电影的叙事，最终是一出家庭伦理剧，很像好莱坞电影。配乐塞得很满，着重这片还是太古典主义了。部分情节略drama，结尾的原谅与和好太仓促。感觉罗西里尼拍这部电影是在用另一种方式和褒曼交流。最后免费听徐枫老师八卦了罗西里尼与褒曼当年的情史，真是传奇又伟大的爱情，真正的精神恋爱，虽然短暂，但一生一次足矣。
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