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.
朴素丹最后一个镜头是因为落水太久泡浮肿了么
2/5分，不及格。
爆米花小爽剧，背景音乐真的很好，听着就想蹦~~~~~~PS:1:头发过于酷炫了，这个身份不应该是要尽量隐身的吗？2：最后码头戏份过于潦草了，这么大码头就仨3人，，，玩啥呢，3:3星凑合还行，但近期真的没出啥特别好看的无脑爽剧，加一星~~~
顶多就是个女版《非常人贩》，较真点说还不如《非常人贩》，女版《的士速递》更合适些，非说是女版《大叔》怎么不再大胆点说是女版《这个杀手不太冷》呢？
寄生虫的兄妹俩都要大火啦ヽ（・＿・；)ノ
好久没看赛车电影了 还可以 朝鲜话约定跟日语一样的 甩尾镜头多 甩尾过火车头印象深刻 连续看了一部日本和韩国电影都有黑人在里面演社会底层工人的角色 不造两国的黑人群体有没有意见 男主因为练习棒球抛球耽搁了 没赶上女主的特送 女主不造怎么跟小孩子相处 这片子挺好看的 这个笨杀手我一看就要从停车场掉下去 结尾烂了点 大boss简直有毛病 要信息直接先给人一顿暴揍 都不造先好好说话吗
10分钟能讲完的故事，硬生生用了108分钟，韩国思密达花了很多时间桥段来塑造人物，剩下的都是功能性套路的章节，其实是件好事，但是这类型的商业片过于拖沓就会影响观影过程，容易让观众产生无聊的感觉，而且女主整个形象气质，着实让我很难入戏，跟男版的大叔元斌相比差了不少，加之影片主打的车戏，也没有特别亮眼的设计中规中矩，还期待着片尾会有一场速度与激情，可惜啊
这几年，这么好看的车戏不多了，也很有创意。其他的，别要求那么多了。
三星半，飙车+拯救，虽然题材没太大新意，不过还是很费爆米花的。
剧情一般，女主演技过关，小眼睛太迷人了~最后的搏杀给一颗星
还行，飙车戏不错！女主那种单眼皮婴儿肥的模样也是我喜欢的，但是归结到女版大叔这个范畴是不对的。为什么这种高战斗力的都是脱北的设定，看来韩国人比较疲软。
三星给干净利落的动作，心狠手辣的反角，还有越看越好看的女主。飙车场面让人不禁想起《速度与激情》，还有成龙的《白金龙》……
同样的题材元素，看完后想再看一遍NWR的《亡命驾驶》
很适合带孩子看，可以结合内容给孩子讲道理。
1/3的好戏，虽说老套，但强在角色设计搭配，可惜的是后半程太拖沓了，小男孩完全成了累赘，导致整部剧的气场上不来。
张恩夏好帅，她开车的时候音乐好好听，她养的猫好可爱，动作戏好爽，白钢铁和张恩夏还有阿西夫好正义啊！还好结局还算圆满！不错的商业动作片。
《非常人贩》+《大叔》+《极盗车神》的杂质版，优点没学全，缺点学了一堆；另外这个小孩真不讨喜啊。
韩国人的模仿能力真的超强，性转版baby driver，追车戏非常好看，配乐带感，单眼皮小女主cool到掉渣，娱乐性爆炸的商业片。
成色非常差的电影 babydriver 杀手不太冷做了几组粘合 属于流水线产品 拍摄的问题也蛮明显。导演对于细节的松弛也是失败的成因之一
时长82分钟，情节一波三折，跌宕起伏，却不乏温情细腻友爱的画面，将亲情，友情，环保三种思想融入情节，故事情节安排紧凑，环环相扣，悬念设计恰到好处。
Copyright © 2015-2023 All Rights Reserved
