《不安》講述什么樣的故事？
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》是在哪一年上映的？
《不安》是羅伯托·羅西里尼于1954年拍攝上映的一部經典劇情片。此片開創了其它當代劇情片的先河，《不安》上映時票房穩坐國內外前三，創下當年最佳紀錄。在當時英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特均為最佳演員，英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特以精彩演技和完美的形象，奠定在其它影視地位。英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特飾演角色多年后仍為大眾爭相模仿。羅伯托·羅西里尼之前曾被人懷疑其能力，而《不安》卻奠定羅伯托·羅西里尼劇情片風格。《不安》首映時曾獲海外劇情片和媒體廣泛好評，被認為其優秀程度，是足以與同時期（指1980年代）好萊塢（好萊塢）優秀劇情片齊名。
2、被稱為劇情片的開先河之作的《不安》，是羅伯托·羅西里尼最好的作品嗎?
從羅伯托·羅西里尼斬獲劇情片最佳導演 我就覺得這部《不安》是他最好的劇情片。雖然羅伯托·羅西里尼后來還拍出來了評價特別好的劇情片，但是《不安》是他劇情片的代表作品。
3、《不安》為什么能成為經典之作？
提起其它劇情片，人們就肯定會說出《不安》的名字。這部由羅伯托·羅西里尼導演，英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特主演的《不安》，在當時，真的是成為了一匹黑馬，殺出了一條血路，創造了一個奇跡。為何會這么說，我想，就連羅伯托·羅西里尼導演和英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特，都沒想到這部劇情片會得到這樣好的反響。羅伯托·羅西里尼先生曾說過，這是一群失意的人湊到了一起創作出來的一部作品。因為在《不安》開拍之前，英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特已經有4年無戲可拍，而英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特主演的劇情片，票房始終不理想，這樣的幾個人湊在了一起，也真是緣分！所以，正是這樣的失意感和強烈的自尊心，他們在劇情片中投入的熱情，是我們難以想象的，其實《不安》中的人物心理歷程和感人的劇情，何嘗不是現實中他們的真實寫照呢？所以，他們懷著一腔心有不甘的英雄氣，用他們的實力和人情成就了這部經典劇情片，也成就了他們自己！
4、如何評價《不安》?
《不安》口碑非常好深受廣大觀眾喜愛，《不安》一經播放立刻引來無數人關注，不僅英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特演的好而且該劇情片故事情節也非常緊湊，神馬影院（www.lyijob.com）觀看起來特別流暢同時還能扣人心弦，即使目前《不安》收視率不佳但是該片目前受歡迎程度已經蒸蒸日上。該劇情片主演英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特，她在該劇情片中的演技可圈可點，受到英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特演的好而且該劇情片迷的認可。
5、《不安》劇情片的主要內容
《不安》是一部劇情片劇情片，由導演：羅伯托·羅西里尼執導，主演：英格麗·褒曼,馬蒂亞斯·維曼,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》是羅伯托·羅西里尼導演的一部經典的劇情其它片大全，該劇講述了：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the oth，想看更多的相關影視作品，請收藏我們的網站：www.lyijob.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.
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