片名:《不安》
类型:剧情片
上映时间:1954
上映地区:其它
导演:罗伯托·罗西里尼
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
集数: 更新至0集
语言:其它
【讷河影院】推荐剧情片不安高清在线观看全集免费1080P播放地址,不安的故事情节深刻,道理深远,让人不仅享受视觉和听觉的盛宴,还能领略情感的美妙。不安的演员有英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特,他们精湛的演技把角色的性格和情感都演绎得淋漓尽致。不安是一部其它地区的其它电影,在1954上映后就受到观众喜爱,获得10.0的评分。
《不安》观后点评:电影不安打破了常规,故事情节婉转动人;通过导演罗伯托·罗西里尼出色的执导能力,准确把握故事的节奏,使得影片的整体节奏感非常流畅。
《不安》抖音网友点评:剧情片不安无论是剧情推进还是角色塑造,都做到了完美无瑕;不安的台词智慧幽默让人深思,这是一部颇具思考价值的电影。
不安讲述了:Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the 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.
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