《不安》是由知名导演羅伯托·羅西裏尼 执导的一部劇情片，英格麗·褒曼 馬蒂亞斯·維曼 雷娜特·曼哈特 等倾情出演，该片讲述了： Whenev er I see La Paura I think o f it as a companion piec e to Eyes Wide Shut, or maybe it is the othe r way around. Adul tery m akes both films tick but in different ways. I think Phillip French was right on the mon ey w hen he pointed out a W izard of Oz thing in Kubrick' ;s last wor k. Like D oroth y, To m and Nic ole go throu gh fantasies and nigh tmares and at the end Do rothy's reassuring c hildis h motto &quo t;there 's no p lace l ike home" i s ironical ly upda ted to the a dult circums tanti al adage "there's no sex like marital sex". Kubrick' s take is intellec tual, he never leaves t he world o f ideas to touch th e ground . He taunt s the audience firs t with an erotic movie and then with a thriller a nd refuses to deli ver ei ther of them. He was married to his third wife fo r 40 y ears, until he died. Rossellini was still marrie d to Ingrid Bergman w hen he directed La Paura; t hey had bee n adul terous lover s an d the ir infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the t ale has a happy ending. The city is noir ; the country is tale, the territory where c hildho od is possib le. The tran sition is operated in the mo st re gular way: by car, a long-held shot taken from the front of the car as it rides into the roa d, as if we wer e entering a different dimensi on. Irene (Bergman) starts th e movie: we just see a dark ci ty la ndscape but her voic e-over narration tells us of her ang st and informs us that the story is a flashb ack, hers. Bergman's been cheating on her husband. At first guilt is just psychological tor ture but s oon expands into economic b lackma il and then grows into som ething else. From beg inning to end the movie focuses on what Bergman fee ls, ev ery other character is the re to make her f eel something. Only wh en t he director gives away the plot before the ma in charact er can find out does he want us to feel something Bergman still can't. When she fin ds out, we have al ready exp erienced the warped mechanics of the situation and w e may focus once again on the e motion al impact it ha s on Bergma n's Ire ne. I n La Pau ra treasons are not imagi ned but real, nightmares are delib erate and the couple 9;s veno m suppurat es in bitte r ways. Needl ess t o say, Ingr id has anot her of her rough rides in the movies but Ro ssellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutab le impassivity of na ture (Stro mboli). His gift is l ess transcendent and fragile than the conc lusion of Viag gio in Italia. He just gives his wife as muc h of a fairy t ale ending as a real wo man can have , a human l andscape where she c an fi nally feel at home. Back to t he country, a half l it interior scene where shadows suggest the comfo rt of sleep. After a ll, it 's the "fairy godmother"; who speaks the l ast words in the movie. 这一次，她 直接从袖中暗袋里摸出 一个大型储物 袋，“知道我要来见您，不仅爷爷让我给您带了 好些黄金谷做 成的米饭和各类点心，就是 我师父师叔他 们，都逼着宗里的大师父，给您弄了好些好 吃的，我师姐采薇还 把她弄的极品花茶给我了 。”
