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.
挺喜欢焦俊艳的，但是老拍这种质量的电影的话我真的不行
幻想能治愈孤独 制造浪漫 能和家具老车狗子对话实在是很浪漫的事情 最喜欢狗子 打架的时候笑死我了
有佳句而无佳章，拼凑的电影，关键是不接地气！
这还不是个单纯的搞笑片，竟然还有悬疑线吗？太有意思了吧，值回票价了。。
看了这个电影，把我整不会了，我开始思考拍电影的意义了。就比如这个电影，拍出来的意义是什么呢？
能够和身边的东西说话，这个充满童心的设定让电影在搞笑之外有点温暖，一个人在屋子里也不会独孤
为啥去看？因为我朋友参演了，我想看看他。
主演都是还比较欣赏的，看完再回过味的时候就觉得好像很多线索都有几层的深意。
设定很逗
制作水平挺好的，情节，表演还都可以，在国产片里算好了。张雪峰老师出镜还挺抢风头的
讲个笑话，小偷低头绑鞋带被屋主用装饰品爆头。
拖拖沓沓，节奏古怪，莫名其妙，生硬造作，不宜观看。
是男性导演的意淫吧，把黄色笑料当幽默，恶心
哦，这油腻的不想看的滤镜，还有那讨厌的光头，看不下去了。
剧情有点可爱，但结局实在仓促，林更新是真的狗，喜剧的核心果然是悲剧。
柯林斯是真好看，普莱蒙是真难看，希哥是真无聊。这么点剧情抻了90分钟还很多没讲，服了…
拥有超能力真的好吗，原本正常的生活被突然打乱了，真可谓是剪不断理还乱呀。
家属选的下饭电影，剧情略尬，比起男女主角，我居然觉得那只小黄狗挺好玩儿～才发现居然是今年的新电影，陪人吃饭时候乐呵下还成，院线或独处的话，大概率不会看～
还能笑出来一点，不过也仅此而已，原来林更新就是花妞呀……
确实让我笑到了，但有些笑点挺低俗的，彩蛋加一星。
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