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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電影《丈夫常年不在家》 HD

評(píng)分：
10.0 推薦

分類：劇情片 其它 1954

導(dǎo)演：羅伯托·羅西里尼  ?

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劇情介紹

片名：電影《丈夫常年不在家》

電影類別:劇情片

發(fā)行年份：1954

首映地區(qū)：其它

導(dǎo)演：羅伯托·羅西里尼

演員：英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特

更新時(shí)間：2025-12-26 07:30

常見(jiàn)問(wèn)題:

電影《丈夫常年不在家》劇情片電影演員有哪些

網(wǎng)友：有以下演員主演：英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特 。

電影《丈夫常年不在家》作為其它電影史上的劇情片經(jīng)典，對(duì)后世有何深遠(yuǎn)影響？

1954年推出的電影《丈夫常年不在家》，以劇情片的獨(dú)特風(fēng)格驚艷了其它電影界。這部電影不僅讓英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特的演技得到全網(wǎng)認(rèn)可，更重新定義了其它劇情片電影的創(chuàng)作標(biāo)準(zhǔn)。即便是多年后的今天，電影《丈夫常年不在家》依然是其它電影領(lǐng)域難以逾越的標(biāo)桿，其蘊(yùn)含的劇情片精髓至今仍在影響著新一代創(chuàng)作者?？梢哉f(shuō)，沒(méi)有電影《丈夫常年不在家》，其它電影的劇情片分支或許會(huì)走上截然不同的發(fā)展道路。

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