不安

《不安》讲述的是什么故事？

《不安》　　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.

一、《不安》是哪一年上映的？

《不安》是罗伯托·罗西里尼于1954年拍摄的一部经典剧情片。此片开创其它当代剧情片的先河，《不安》上映时票房稳坐前三，创下当年纪录。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·曼哈特饰演角色造型多年后仍为人所模仿。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和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1954年代）其它优秀剧情片齐名。

二、被称为剧情片的开先河之作的《不安》，是罗伯托·罗西里尼最好的作品吗？

从罗伯托·罗西里尼斩获剧情片最佳导演开始，很多观众就觉得这部《不安》是他极具代表性的剧情片。虽然罗伯托·罗西里尼后来还拍出过评价很好的作品，但是《不安》依然常被认为是他剧情片创作中的重要代表。

三、《不安》为什么可以成为经典？

提起其它，不少观众都会想到《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》，在当时凭借鲜明的人物塑造和紧凑的剧情片叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《不安》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《不安》？

《不安》口碑表现稳定，深受广大观众喜爱。不仅英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特的表演有看点，而且该剧情片故事情节紧凑，影院3（3.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《不安》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《不安》剧情片的主要内容

《不安》是一部剧情片作品，由导演罗伯托·罗西里尼执导，英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的剧情片故事。

《不安》　　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.