《不安》究竟在向我们娓娓道来一个怎样的故事？
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.
1、《不安》请问这部作品是在哪一年问世的？
《不安》是罗伯托·罗西里尼于1954年拍摄的一部倾力打造的影史传世之作剧情片。此片开创其它当代剧情片的先河，《不安》影片一经上映便横扫市场，其票房成绩稳居同期三甲之列，更创下了当年的辉煌纪录。当时英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特均为最佳主角，英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特以精彩演技和突出形象，奠定在其它影坛地位。英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特剧中角色的装扮，早已蜕变为一个鲜明的文化符号，其设计元素在时尚的轮回中不断被重新激活与效仿。罗伯托·罗西里尼之前曾被人怀疑其能力，而《不安》却奠定罗伯托·罗西里尼剧情片风格。《不安》首映时曾获海外剧情片各方评论均不吝赞美之词，被誉为难以逾越的巅峰之作，是足以与同时期（指1980年代）好莱坞（好莱坞）优秀剧情片齐名。
2、被称为剧情片的开先河之作的《不安》，是罗伯托·罗西里尼最优秀的作品吗?
从罗伯托·罗西里尼斩获剧情片最佳导演 我就觉得这部《不安》是他最好的剧情片。虽然罗伯托·罗西里尼后来还拍出来了评价特别好的剧情片，但是《不安》是他剧情片的代表作品。
3、《不安》它何以被奉为经典？
提起其它剧情片，人们都会不约而同地说出《不安》的名字。这部由罗伯托·罗西里尼导演，英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特主演的《不安》，它当年以“黑马”之姿杀出重围，缔造了为人称道的奇迹。那么，我们究竟该如何理解这一现象？又何以达成此番景象？我想，就连罗伯托·罗西里尼导演和英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特，都没想到这部剧情片会得到这样好的反响。罗伯托·罗西里尼老师曾感言，这作品是一群失意的灵魂，在特定的际遇下相聚，将各自的人生况味凝聚成的一部心血之作。因为在《不安》开拍之前，英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特已经有4年无戏可拍，而英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特主演的剧情片，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在剧情片中投入的热情，是我们难以想象的，其实《不安》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
4、如何评价《不安》?
《不安》作品成功引爆口碑，《不安》作品方才问世，其美名便不胫而走，不仅英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特演的好而且该剧情片故事情节也非常紧凑，草莓影视（www.sh-alumina.com）观看起来特别流畅同时还能扣人心弦，虽然目前《不安》收视率一般但是该片目前受欢迎程度已经名列前茅。该剧情片主演英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特，她在该剧情片中的演技可圈可点，受到英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特演的好而且该剧情片迷的认可。
5、《不安》剧情片的主要内容
《不安》是一部剧情片剧情片，由导演：罗伯托·罗西里尼执导，主演：英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特，
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.
6、《不安》是罗伯托·罗西里尼由他执导的一部足以载入影史的杰作的剧情其它片，该剧讲述了：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the oth，为您量身定制的专属影视片单，正在本站持续更新。想要获得一站式观影视听体验，敬请即刻收藏：www.sh-alumina.com
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.
