不安

　　Whenever I -:`s\ ee $_La Paura I thin\=k o%@f it: as a companion pi(ec$*!e to#* Eyes Wide S[[!hut, o^r ma\:ybe :it is the other way around. Adultery makes bo=th films:[_ tic!-k b$ut in diff`er);ent ways. I think Phillip Fr? [ench wa:_`s right-]$* on=](`! the mone/%%`y when he pointed out$/ a Wizard! of/ Oz$ thing^-, in K.; ub

;rick&!#39s l%a \]\st wo=^?rk. ($Like Dorothy, -Tom and Nicole*_) go thr^+@ough fantasies and ni/g!*.htmares;  and a#)t the end Dorothy's[^ reass_(u)*rin];?g ch \^ildish motto ^:& @quot)there_*9,s no place lik-e h@]ome&q`uot is iron[=/ical/ly u?$/pdat^$/ed to th e adult circu;[mstantial`= adage
% "ther()*=e& @([#39s no sex like marital se$)x". Kubrick&@_#39s take is : intellect`$ ual, he  neve@:r, leaves[ the wor[[l? d of ideas to touch the ground. He ta($unts the au\dience fi?rs?=+(t with a%,n *)_]e*rotic mov;i.e and t#*,hen *!!%w$ith a thr*i+?l$ler and refuses to deliver either of the m. He was married to his thir=d w*:ife for  40 year%s, u?ntil he,! die-!d. Rossell
$
ini wa@s s:)till
 married to Ingrid Bergman when he direct,ed ]+La Paura(_% ,they had been ad-
=ult,erous l;_overs and their infideli][ty wid
el+]y criticized La Paura_` is a t/ale, a noir+?is*
h one. The n!o^ir intrigue is so
lved and the tal e has a happy e@*ndi @\
ng. The city is noir the countr, %y is tale , the territ,ory w.+:)here childhood is po_;/ssible. T$he tr.ansition is o^
pera
ted in-@:/ th`$e m$ost re=gular `^ way : by car , a long-held \.@shot t%aken from the fro\nt of t$-he car as it rides into the road, a\*s if we: were enter%ing_`+ ( @+a different .dimensi:on. ]-I;r @/en+ e (Bergman@) starts the %movie: we% just\@ s\ ee a dark cit /*y landsca,-*pe bu =*#t her -voice-over n%,/arr=/at)ion =]t@el!.ls# us ;of her a[$ngs$_[t an d informs us=)] that. :/the *%stor+.y 
is a ])]fla;sh[ !back, hers. Bergman's b$een c@/h ^$eati%/ng o;(n her husband. At;+_ fir_`s%t g^uilt ` -is just% !.(%psyc+^/hologica[l tortur%e but s:^%o/^o@n e`\xpan d(s into- eco(nomic blackmail an`
d.(% then grows int)o something else. _! From beginning to e /nd ;/the 
movie focus)!es on wha -^t Be ;rgm;;an /!f=^;eels, every o ..th)`er[   charact, #er is t,^$]he`@@@re. to make her feel something. On(*ly when the /+director gives away  t/-he plot before) the m?ain #ch[-ara+cter can] f /ind @` %out doe_;s he want u]s to feel some[!thing Ber)gman! still can&#^3) 9t+,. When s.he:_\( .,f.in=ds// o [%ut, we h?(ave alrea
dy(:) *exper=ienced the@ warped.$ mechanics* of the]# s?-ituation and w[.e m^%ay /focus onc `e a=(%ga-in on ^ the emotional impa+. ct(^ it has on Bergman&)/#39s Irene. In La Paura tre..asons a- 
r:#e not ima; _gined !but\`; real,: nightmar.
#-es ;are delibe-rate *;=*and  t()he couple'
^ s ve^-n:om suppurates in bitter ways. Needless t=[o say, I$ ngrid has anot?,?h%-^er o?)[f her =\rough# rides in the=^#/ movies b_ut Ro]$ssellini d: oe+[sn.9t:!\ d%+;are put?, her aw; ay )-[as he did in Europa\ [:^51, n[or does he aba[\@ndo#@n her to the inscrutable impassiv/ity ]/of n=
* ature %/(S( trombol `i). His _=#gi++`/ft is : l!es s trans-`.-ce+nde/  nt a_#nd fr-.,$ag(-ile ;t]han th^.;e * co*.@nclus/(,ion ,-+of *Viaggio in
\Ital\:(ia. He just gives #\his wife as m` /uc$)
(h- ( of!* a fairy,+ tale:@ end@.ing;\? as:( a r,^eal wo(man c:an have, ?a;_ .-=h]uman l,andsc,/a%pe w/here she \ can() f.inally fee=l at home. Back to$` the cou\;ntry, a hal);f lit inter?ior scen@,_e w$her$e s hadows suggest the , co^.!mfor[)t of s.($@?leep. Aft`?,,e+r all, it's=
? the "fairy) godmoth e+_,r&quo[\t who speaks )$the last words _)in *the movie.