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.
感觉这部有点偏低龄了，而且总觉得有刻意讨好中国观众的嫌疑
中国元素还挺多，小黄人可爱，而且戏份足，我已经满意了
可爱可爱！笑得很开心！没有想到蛮多的中国元素，以及Gru小时候好像企鹅人呀！
不值得去电影院看，剧情太杂乱，混了中国传统元素也没得救
I'm just too old to watch this...
十二生肖之萌宠 vs 猛兽🤭一开始以为是盗墓笔记，后面发现是唐人街探案😆小Gru好可爱！
狗狗眼卖萌直接给我送走了😭😭😭😭
一眨眼小黄人也拍了十几年了。去电影院看着小黄人彻底放空自己笑两个小时，似乎慢慢成了一种习惯。
小黄人真可爱！看到了前作的人物，杨紫琼配音让我感到惊讶。
各种致敬经典真是笑晕，感觉就是一个美国动作片大杂烩，作为前传还是怪有意思的【比前面的巴斯光年好些】没想到中国元素这么满，有小时候看成龙历险记内味了。
6th wedding anniversary at cinemark. 那只小黄人鸡给我来一个！！！
狗狗眼卖萌直接给我送走了😭😭😭😭
這部那麼多人評分，為什麼還沒開分啊？入場前沒想到是賀歲片，今年的賀歲片全都堆在暑假了啊。《闔家辣》那句“復活放咗暑假先 暑假拜年CLS”的宣傳標語真的很抵死。編劇用上了老掉牙的公式，加上stereotype溢出銀幕的所謂“中國元素”，如果不是賀歲片，真的稱不上合格。但是賀歲片嘛，胡鬧加搞笑就夠了，最重要的是千萬不要說教。噢，Minions太萌了，再加一星。
没看过预告直接去电影院看的，当在日本的电影院片头突然响起了中文歌声的时候，我还以为自己在做梦...无论如何小黄人真的太可爱了，无脑打分。
不错的！中国元素用得很棒！配合剧情很流畅～
中国元素还挺多，小黄人可爱，而且戏份足，我已经满意了
如果是因為飛機不過審的話，這次我撐總局，猴戲都比這好看⋯
Boyfriend enjoying the minions way too much. Red flag or green flag? (w/ bobo)
格鲁的童年偶像及三小只拜师那点事 开飞机那段笑死 十二生肖变身有点帅 今年外国动画酷爱中国元素
总之世界上怎么会有小黄人这么可爱的东西，观影途中被萌到喉咙里嘤嘤嘤的声音特别自然就冒出来了，太可爱了！！安利大家都去看呀！
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