该片是由罗伯托·罗西里尼执导的剧情片,于1954年上映，主要.讲述了:Whene.ver I see. La Paura I think of it as .a companion piece to Eyes W.ide Shut,. or maybe it is. the other way aro.und. Adultery makes both. fi.lms tick but in different w.ays. I think Ph.ill.ip .French was righ.t on the mon.ey when h.e pointed out a. Wizar.d of Oz thing i.n K.ubrick's .last work.. Like Dorothy, Tom and Nic.ole go through fantasies an.d nightma.res and at the .end Dorothy's reas.suring childish motto th.ere.'s no place like home is ir.onically update.d t.o t.he adult circum.stantial ada.ge there'.s no sex like m.arital. sex. Kubrick's. ta.ke is int.ellectual., he never leaves the world. of ideas to touch the grou.nd. He ta.unts the audien.ce first with an e.rotic movie and then wit.h a. thriller and refuses to de.liver either of. th.em.. He was married. to his thir.d wife fo.r 40 years, unt.il he .died. Rossellin.i w.as still .married t.o Ingrid Bergman when he di.rected La Paura; they had b.een adult.erous lovers an.d their infidelity. widely criticized La Pa.ura. is a tale, a noirish one. .The noir intrig.ue .is .solved and the .tale has a h.appy endi.ng. The city is. noir;. the country is. ta.le, the t.erritory .where childhood is possible.. The transition is operate.d in the .most regular wa.y by car, a long-h.eld shot taken from the .fro.nt of the car as it rides i.nto the road, a.s i.f w.e were entering. a different. dimensio.n. Irene (Bergm.an) st.arts the movie .we .just see .a dark ci.ty landscape but her voice-.over narration tells us of .her angst. and informs us. that the story is. a flashback, hers. Berg.man.'s been cheating on her hus.band. At first .gui.lt .is just psychol.ogical tortu.re but so.on expands into. econo.mic blackmail a.nd .then grow.s into so.mething else. From beginnin.g to end the movie focuses .on what B.ergman feels, e.very other charact.er is there to make her .fee.l something. Only when the .director gives .awa.y t.he plot before .the main cha.racter ca.n find out does. he wa.nt us to feel s.ome.thing Ber.gman stil.l can't. When she finds out., we have already experienc.ed the wa.rped mechanics .of the situation a.nd we may focus once aga.in .on the emotional impact it .has on Bergman'.s I.ren.e. In La Paura .treasons are. not imag.ined but real, .nightm.ares are delibe.rat.e and the. couple's. venom suppurates in bitter. ways. Needless to say, Ing.rid has a.nother of her r.ough rides in the .movies but Rossellini do.esn.'t dare put her away as he .did in Europa 5.1, .nor. does he abando.n her to the. inscruta.ble impassivity. of na.ture (Stromboli.). .His gift .is less t.ranscendent and fragile tha.n the conclusion of Viaggio. in Itali.a. He just give.s his wife as much. of a fairy tale ending .as .a real woman can have, a hu.man landscape w.her.e s.he can finally .feel at home.. Back to. the country, a. half .lit interior sc.ene. where sh.adows sug.gest the comfort of sleep. .After all, it's the fairy g.odmother .who speaks the .last words in the .movie.