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.
内容属于轻喜剧合家欢类型，讲真善美，勇敢做自己，适合小朋友
修giugiu给满分了💯，终于是个可爱知性的小女孩作为主角，而不是劲儿劲儿的gossip girls了
感觉情节说的太浅，剧情的精彩程度不够。而且预告片搞得跟盗墓笔记一样玄幻，结果却啥也没有……李现的演技也是很容易让人出戏……
上海郊区差一点点得到一只大红狗，暴风哭泣！！
两星都给可爱的红毛拉布，太可爱了。剩下的故事套路无新意，萌宠惹祸、慰寄主人公心灵、勇于发现自我、最终打败低智商坏人，最后靠宠物获得一份工作，看起来就是彼得兔之类题材的翻版。并且顺势添加了刻板印象中的华人角色。全员演技刻意到烂的不行。我看影片一直再想一个问题，这么巨大的拉布拉多日常拉屎怎么清理的事情为什么不交待一下？而且真的是一天拉两次啊。
這個應該是給孩子看的吧…劇情有點牽強 但有狗狗➕一星
看了之后，太想养一只狗狗了，还有我理解了外国喜剧
表面上是破了局 撕了面子保了里子 其实留下各种烂摊子——自命不凡药不然 大逆不道黄烟烟 耿耿于怀许愿……五脉子孙后代也太不让人省心了——药丸💊
随便一看。遗憾之作，看得出来编剧其实仔细打磨过，可惜没把力气用对地方。为了反转而反转，为了烧脑而烧脑。硬凹，整的太硬了，硌牙啊。年代感和服化道还是有可圈可点的地方。
原来是完全的儿童片啊... > < 不过狗勾真的很可爱啦~ 虽然特效不太ok...但猛冲推球那笑死hhh 这个叔叔有点搞啊，说话好逗~ 有趣~ 本来还以为会更偏向励志感人or whatever，结果中间串出来个“扎克”就有点大无语...就强行搞个反派感觉，而且还很蠢。噢对，是儿童片...不过还是挺温情的，妈妈超好啦~ 大狗rua起来应该很爽吧！直接躺上面用爪子当被子！前提是不可以舔人！！！儿童片来说还可以啦~
笑点还是可以，但是没有太多新意，算是标准的剧情模式吧
我以为是动画电影来着，但狗子的部分制作还行。
剧情好低幼，适合给小朋友看，成人观看需主动降智。
一个晚上意外看了两部red giant animal的电影，这部虽然脸谱化但真的蛮好笑哈哈
很喜欢电影结束后的漫画。看这种片子本来就不是抱着”深度“和“成熟”的。片中红狗的很多表情和动作都和自家狗子一模一样。那种纯真的眼神和对爱和自由的向往，让成年人也能共鸣和温暖一阵子就足够了。
很喜欢女主房间里绿色的墙壁、黄色的床单和红色的狗狗 很漂亮 电影确实感觉情节上缺点东西 本来想看狗狗耍宝的它却一直在那里装笨蛋 哼哼
跟菜市场拐角处里的玩具店一样，你看主角团里都没有一个黑人小孩，是不是老不正确了？连迪士尼都嫌老旧的方式，其实也挺让人放心的，什么都不用费心去解释，糊弄糊弄小孩子就可以了。
不能细想，故事的完整性有所欠缺，主要是来看看葛大爷的
cheesy, cliche, predictable. 感情线聊胜于无 主人公小女孩一点不可爱 唯一有意思的就是叔叔 但最后竟然还放弃了之前的生活方式 真是太不好看了（一星给结尾的手绘狗）
自愿吃的才叫吃苦，是你放弃诱惑的克制，而不是无奈的生活打压，为了讨生活
Copyright © 2015-2023 All Rights Reserved
