Whenev er I see La Paura I thin k of it as a companion piece to Eyes Wide Sh ut, or may be it is the other way around. Adul tery makes both films ti ck b ut in differe nt ways. I think Phill ip French was r ight on the money when he pointed out a Wizard of Oz th ing in Kub rick's last work. Like Doro thy, T om and N icole go thro ugh fant asies and ni ghtmar es and at the end D orothy's reassuring c hildish motto there's no place like home is ironica lly updat ed to t he adult circumstantial a dage there 's no se x like marital sex. Kubrick's t ake is i ntellectual, he never leaves the world of ideas to touch the ground. He taunts th e audi ence first w ith an erotic movie and then wit h a thrille r and refuses to deliver either of the m. He was married to his th ird wif e fo r 40 years, until he died. Ross ellini was still married t o Ingrid B ergman when he directed La Paura; they had been adulterous lovers and their infidelity widely c ritici zed La Paur a is a tale , a noirish one. The noir in trigue is solved and the tale has a happy ending. The city is noir; the co untry is tale, the territory where childhood is p ossible. The tr ansition is operated in the most re gular way by car, a long-held sh ot taken from the front of the car as i t rides into the ro ad, as if we were entering a differ ent dimension. Irene (Bergm an) starts the movie we j ust see a dark cit y landscap e but her voice-over narration tells us of her angst and informs us that the s tory is a flash back, hers . Bergma n's been che ating on her husband. At first guilt is just p sychologi cal torture but so on expands into econom ic blackmail a nd t hen grows into something else. From beginni ng to end the movi e focuses on what Bergman feels, every other character is there to make her feel somethin g. Only whe n the directo r gives away the plot before the ma in characte r can find out does he wan t us to feel something Bergman still can't . When she finds out, we have a lready e xperienced the warped mech anic s of t he si tuation and we may focus once again on the emotional i mpact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightm ares are d eliberate and the c ouple's venom sup purates in bi tter ways. Need less to s ay, Ingrid has another of her rou gh rides in the movies but Rossellin i doesn' t dare put her away as h e did in Europa 51, nor does he abandon her to the in scruta ble impassivity of nature (St romboli). His gift is le ss transce ndent and f ragile than the conclu sion of Viaggio in Italia. He j ust gives his wife a s much of a fairy tal e ending as a real woman can have, a human lan dscape where she can final ly fe el at home. Ba ck to the country , a half lit interior scen e wh ere shadows sug gest the c omfor t of sleep. After all, it's the fairy godmother wh o spe aks the last words in the m ovie
精彩剧情/对白：“她回来谎称自己 是玄乙门的弟子， 的确是本 公主默许的。但这也是因为十公主在本公主的面前哭诉，她不知道什 么时候才能进入玄乙门，回去大炎 ，一切都会生变一来怕自己父皇会换人前去玄 乙门，二来怕她的父皇责怪她，三来也怕她的 父皇会随意的给 她定了不符合她身份的亲事。种种担忧，在本公主的面前哭诉，本公主这才心软答应了她。”
“真正的顾多意，也就是顾 钊和蒋玉的 女儿，已经死了，死在了 顾家的庄子上，钱氏安排 的人追杀的 。她在弥留之际 遇到了我，她想要我完成 一些事情，而我需要一个身份过来 永恒皇朝找轻寒 ，所以我答应了她，用了她的身 份在永恒皇朝。”
“我爷啊，我爹这伤 还没有好呢，你这一打，要是再出点什么事情， 你又不舍得出银子，还得我爹自己受苦。这分家了，你不舍得出，可 由不得你不出 的，你不出，我直接告你上衙门。到时候看看三叔那里，还能不能考取功名了。”
“早年乔木 在乔家的时候， 乔家那些 人哪里能让他有什么 私房钱，口袋空 空和你成的亲，成亲之后，你们也没有什么银子，如今在医馆呢，人家是医馆也不是善堂不是 ，没有见到一点银子， 给不给治都不好，所以这 银子你先拿着，给医馆， 医馆见你们 怎么也能拿出银子来 ，这才会乐意医治的。”
“你倒是有自知之明，不过我倒是这样想，慕煜行本 就是天资聪慧异于常人，十六岁就考上了哈佛，二 十岁就提前获得了神经外科的硕士学位，更是完成了多场高难度的 手术，他在我们眼里，从来都是无人可比的 ，或许他需要找 一个平衡。”
