简要：Whenever I see 'La Paula', I see it as a sister story of 'Eyes Wide Shut', or perhaps the opposite. The act of adultery made both films very successful, but in different ways. I think Philip French was right when he pointed out 'The Wizard of Oz' in Kubrick's final work. Like Dorothy, Tom and Nicole have also experienced fantasies and nightmares, Finally, Dorothy's reassuring naive maxim "There is no place like home". Ironically, it has been updated into an adult indirect maxim There is no sexual activity comparable to marital sex. Kubrick's viewpoint is wise, he never leaves the world of thought to touch the ground. He first mocks the audience with a pornographic film, then mocks the audience with a thriller, and refuses to play any of them. He married his third wife for 40 years until his death. Rossellini directed 'S ã o Paulo' Still married Ingrid Bergman; They were once adulterous lovers, and their disloyalty was widely criticized. S ã o Paulo "is a story, a black story. The black conspiracy has been resolved, and the story has a happy ending. This city is black; This country is very storytelling and a place where one can spend their childhood. The transition is carried out in the most regular way: on the car, when the car enters the road, a long shot is taken from the front of the car, as if we have entered a different dimension. Irene (played by Bergman) starts this movie: we only see a dark urban landscape, but her voice narrative tells us her anxiety and tells us that the story is her flashback. Bergman has been deceiving her husband. At first, guilt was just a psychological torment, but it quickly expanded into economic extortion and then developed into something else. This movie focuses from beginning to end on Bergman's feelings, and every other character is there to make her feel something. Only when the director leaks the plot before the protagonist discovers it, does he want us to feel something Bergman still cannot feel. When she discovered this, we had already experienced this distorted mechanism, and we may once again pay attention to its emotional impact on Bergman's portrayal of Irene. In La Paula, treason is not imagined, but real. Nightmares are intentional, and the venom of this couple is consumed in a bitter way. It goes without saying that Ingrid still had a difficult experience in the movie, but Rossellini dared not put her aside like in "Europa 51", nor did he abandon her in the incredible cold nature (played by Stromboli). His talent is not as extraordinary and fragile as the ending of Italian Viagio. He just gave his wife a fairy tale ending, just like a true woman can have, a human landscape, where she can finally feel at home. Returning to this country, a semi bright indoor scene with shadows hinting at the comfort of sleep. After all, this is the fairy godmother who spoke the last words in the movie.
Whenever I see 'La Paula', I see it as a sister story of 'Eyes Wide Shut', or perhaps the opposite. The act of adultery made both films very successful, but in different ways. I think Philip French was right when he pointed out 'The Wizard of Oz' in Kubrick's final work. Like Dorothy, Tom and Nicole have also experienced fantasies and nightmares, Finally, Dorothy's reassuring naive maxim "There is no place like home". Ironically, it has been updated into an adult indirect maxim There is no sexual activity comparable to marital sex. Kubrick's viewpoint is wise, he never leaves the world of thought to touch the ground. He first mocks the audience with a pornographic film, then mocks the audience with a thriller, and refuses to play any of them. He married his third wife for 40 years until his death. Rossellini directed 'S ã o Paulo' Still married Ingrid Bergman; They were once adulterous lovers, and their disloyalty was widely criticized. S ã o Paulo "is a story, a black story. The black conspiracy has been resolved, and the story has a happy ending. This city is black; This country is very storytelling and a place where one can spend their childhood. The transition is carried out in the most regular way: on the car, when the car enters the road, a long shot is taken from the front of the car, as if we have entered a different dimension. Irene (played by Bergman) starts this movie: we only see a dark urban landscape, but her voice narrative tells us her anxiety and tells us that the story is her flashback. Bergman has been deceiving her husband. At first, guilt was just a psychological torment, but it quickly expanded into economic extortion and then developed into something else. This movie focuses from beginning to end on Bergman's feelings, and every other character is there to make her feel something. Only when the director leaks the plot before the protagonist discovers it, does he want us to feel something Bergman still cannot feel. When she discovered this, we had already experienced this distorted mechanism, and we may once again pay attention to its emotional impact on Bergman's portrayal of Irene. In La Paula, treason is not imagined, but real. Nightmares are intentional, and the venom of this couple is consumed in a bitter way. It goes without saying that Ingrid still had a difficult experience in the movie, but Rossellini dared not put her aside like in "Europa 51", nor did he abandon her in the incredible cold nature (played by Stromboli). His talent is not as extraordinary and fragile as the ending of Italian Viagio. He just gave his wife a fairy tale ending, just like a true woman can have, a human landscape, where she can finally feel at home. Returning to this country, a semi bright indoor scene with shadows hinting at the comfort of sleep. After all, this is the fairy godmother who spoke the last words in the movie.展开
