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不安4.0

类型：剧情  其它  1954 

主演：英格丽·褒曼 马蒂亚斯·维曼 雷娜特·曼哈特 

导演：罗伯托·罗西里尼 

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不安剧情简介

电影《不安》由英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特主演，由罗伯托·罗西里尼 执导，于1954年在其它上映，赛尔乔·阿米德伊编剧，英文名：buan ，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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不安影评

老友影院网友：从剧本打磨到镜头语言，从场景搭建到演员表演，《不安》全方位展现出导演罗伯托·罗西里尼成熟的创作功底，而英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特 对角色的精准诠释与沉浸式演绎，更是让这部作品在众多影视剧中脱颖而出，收获观众与业内的双重认可。

百度云网友:一部好的影视作品，离不开优秀导演与实力演员的强强联手，《不安》正是如此：罗伯托·罗西里尼导演精准把控故事内核与叙事节奏，演员：英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特突破自我塑造经典角色，让观众在追剧过程中既能感受剧情魅力，又能体会到影视艺术的独特魅力。

樱花动漫网友: 抛开流量与热度，回归作品本身，《不安》之所以能成为口碑佳作，离不开导演罗伯托·罗西里尼对细节的极致追求，更离不开英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特对角色内心世界的细腻诠释，每一场戏都经得起推敲，每一个角色都立体而真实。

老友影视网从开篇铺垫到高潮爆发，从人物成长到主题升华，《不安》在导演罗伯托·罗西里尼的掌控下呈现出完整且动人的故事线，而英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特等演员用细腻且有力量的表演撑起角色灵魂，成为整部影视中最打动人心的亮点所在。

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