Whenever I see La Paura I think of it as a co mpanion piece to Eyes Wide S hut, or maybe it is the other way aroun d. Adu ltery makes both films tic k but in different ways. I think Phillip French was right on the m oney when he poin ted out a Wizard of Oz t hing in Kubrick's last work. Like Dorothy, Tom and Nicole go th rough fantasies and nightmar es and at the end Dorothy's r eassuring chil dish motto there's no p lace like home is iron icall y updated to the adult circumstantial ada ge there's n o sex li ke marita l sex. Ku brick's tak e is intellectual, he nev er leaves the world of ideas to t ouch t he ground . He taunts the a udience fi rst w ith an erotic mo vie and then with a thriller and refuses to deliv er either of them. He was married to his third wife for 40 years, until he died. R ossellini was still marr ied to Ingrid Be rgman when he directed La Pa ura; they had been adul terous lovers and their infidelity widely crit icized La Paura is a tale, a noirish o ne. The noi r intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the terri tory where childhoo d is poss ible. The tran sition is op erate d in the most reg ular w ay by car , a lo ng-held shot taken f rom t he front of the car a s it rides into the road , as if we were entering a di fferent dimension. Irene (Bergman ) sta rts the movie we just see a dark city landscape bu t her voic e-over narra tion tells us of her angst an d informs us that the story is a flashback, hers. Bergman's been cheatin g on her husband. At first guilt is just psychologic al torture but soon expands int o economic blackmail and then grows in to so mething else. From beginning to end the movie focus es on what Bergman fee ls, every other character is there to make her feel something. Only when th e dire ctor g ives aw ay the plo t before the main chara cter can find out does he want us to feel something Bergman still can't. Whe n she fi nds out, we have already exp erienced the warped mechanics of the situation and we may fo cus once again o n the emotional impact it h as on Bergman's Iren e. In La Paura treas ons are n ot imagi ned but real , night mare s are deliberate and the co uple's veno m suppurates in bitter ways. Needless to say, Ingrid has another of her rough rid es in t he mo vies but Rossellini does n't dar e put h er away a s he di d in Europa 51, n or does h e abandon her to the inscrut able im pass ivity of nature (Stromboli). His gift is les s transcend ent and f ragile than the conclusion of Viaggio i n Italia. He just gives his wife as much of a fairy tale ending as a rea l woman can have , a human landscape where she can finally feel at home. Back to the country, a half lit inte rior sce ne where sh adows suggest the comfort of slee p. After all, it's the fai ry godmothe r who s peaks the la st words in the movie.
精彩剧情/对白：“再我娘，不亮要起来给你一 家子做早饭，你老宅一家子都有的吃，我娘没樱老 杨氏张春华 彩花的衣 衫我娘洗，后来顾家老大的衣衫也要我娘洗。老杨氏不高兴了 ，不是打我娘就是踹我娘，就连你老宅的的，顾见 中几个，也能把我娘当丫鬟 一样使唤，不高兴了就踹出去。 ”
“是，臣妇一直都 在农庄。这不是想着，杂交水稻能给大炎的百姓带来那么大的好处，棉花又解决了北境的寒冷 ，若是能再研究出什么利国利民的东 西，也是一件好事啊，便在农庄一直待着了。只是有些可惜 ，近日一直也没 有什么有效的成果。”
“三皇子这 个人呢，也没有你想 的那么令人讨厌，他最少，还是比较直接和真性情 的，将自己的情绪都流露 在外，对青青有企图也是正儿八经的来提亲的。京城里那么 多人，就像是毒蛇一样蛰 伏着，等到发现你能咬一口的时候 ，就直接大咬你 一口。”
“我当年被陷害，未婚先孕被赶出王家的时候，郑家婶子还三番两次拿 了东西过来，生怕我吃 不到东西，生孩子出事 情。郑叔这个人虽然看起来很 凶，但是也经常会给 景吃的。至于郑呢，也帮了我好几次，村子里不少人是畏惧老王家的，郑倒 是没樱除了对待我， 对待村里其他人 ，他们也是一样。”
“我们队的支书 那脾气你是知道的，这事儿的确是你们做的不厚道，我们一开 始就死活 不肯，是你把杨 支书又给请来当说客 ，好不容易给答应下来，这下好了，闹出这么大的事儿 ，这事儿必 须你们亲自去说 清楚，要不然他老人家 可能会去知青办说这事儿，到 时候更不好办。”
