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.
好无语，白白浪费我两个小时，我以为什么呢，铺垫了快两个点，结果就这？你哪怕拍90分钟都能比现在好，真的墨迹死个人，印度电影真的拖死人不偿命。
故事并不复杂，但是感情很细腻。桑德拉布洛克的演技绝对撑得起她影后的名头
【2.5】执导层面挺有看头，节奏和气氛都维持得不错。但这个故事的呈现本身太低效率了，几处值得发挥的地方几乎都被编剧阉割或忽略掉，只为了顺利达到主线叙事上的煽情目的。
正当防卫做得好
有意义但是的确逻辑漏洞频出的片子，亮点就是还不错的影像语言。
尤其是结尾那个反转，着实意想不到
而是英语
电影都只是美好结局
真的太赞了，意外的惊喜。这部电影能冲奥斯卡么？看了后心脏都疼了。
没有选举的地方，老爷们没有这方面担忧。
还可以吧 拍摄手法大家都熟了 别说什么模仿误杀2啥的 误杀2才是翻盘的老片子好不好 最起码人家这片子不是医院 误杀2没那资格 不是我推崇印度电影 而是同样是发展中国家 印度的电影就是比中国好 会讲故事 不空 很现实 敢讲印度的社会问题 在咱们这 不存在过审的可能 当然 咱们国家的女性地位很高了 影片反应的女性问题 在中国不会出现
桑德拉布洛克用演技撑起的大女主戏，故事很简单，但是张力很强，最后的真相略牵强。
故事并没有心意，导演也用尽套路，只是，一个敢直面自己社会问题的国家，是值得尊重的，电影三颗星，加两颗星，是给希望！
…果然有点失望…这玩意儿换故事男主会更牛逼…
16个孩子的意义就是每16分钟的意思，最后的标语有点多余了
唉看得好难过啊，想起前程似锦的女孩，我们都待在一个只能以暴制暴的社会里。
转折过于生硬，qj这个点抛出得太直接且滞后，但故事圆得非常完美
三分之一就能预料剧情，却又在结局被谁是真凶吓了一跳。为国家命运而持续发声的印度电影，和真不咋地的印度国情，真是讽刺。
扎扎實實地講故事，細節、情感，特別打動我。
好故事，但却不是一部好电影。但是片子的诚意在这儿。
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