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.
没了周星驰，强行模仿。把香江剧情改成了黑龙江味道。可劲扒拉吧。
为了达叔而看，结果不出所料除了达叔貌似也没什么亮点，最后变身齐天大圣那段我还以为是在看铠甲勇士，电影好多地方拍的也很尬，特效部分也差劲，剧情还可以
5.7_大话西游之缘起 (2022)
片中有一段镜头告别达叔
紫霞也挺活泼的，表演的挺可爱，很放松。
拉来吴孟达一起拍摄的大话西游IP网络大电影，看片尾花絮似乎有不少场景未曾剪入片中，不知为何，但78分钟的腾讯视频在线版本确实显得情节仓促。
三星给诚意和剧情，一星给达叔，一星给我觉得分有点低拉拉分…
在网大里还算可以吧，达叔遗作的宣传噱头稍有夸张
一部看到名字就会想吐槽但是被up主推荐的网络电影，好喜欢这版编剧（看剪辑就哭了怎么回事）节奏有点太快了想看好好剪辑的加长版！为什么分这么低！
作为网大我说它已超预期。剧情重新解构《大话西游》却将原作基调保留还加入新解释不得不说比刘镇伟做续集好看多了。紫霞仙子虽没朱茵灵气但俏皮感却不输。三星的制作加一星给吴孟达最后达叔还是将欢乐留给我们
结局是高潮。怀念的歌声，响起总是心潮澎湃。演职员表出来的时候，达叔加框了，热泪盈眶……
一部看到名字就会想吐槽但是被up主推荐的网络电影，好喜欢这版编剧（看剪辑就哭了怎么回事）节奏有点太快了想看好好剪辑的加长版！为什么分这么低！
说实话出乎意料的还不错，编剧有诚意，有认真的想讲故事，有认真的去做剧情衔接，抓到了大话西游的核心
编剧应该是在deadline 赶完了剧本。
相当用心的网大了，至少比同期档位的院线电影有诚意，及格~~~
紫霞最后流泪的瞬间我觉得至尊宝输了 我也快哭了 应该为紫霞再回到500年前的至尊宝
居然有点好看。《微微一笑很倾城》剧版里的孟逸然，有点剧抛脸，没看出来，演技还不错。
紫霞最后流泪的瞬间我觉得至尊宝输了 我也快哭了 应该为紫霞再回到500年前的至尊宝
达叔最后一个电影，但是电影还是有点烂 当茶余饭后无聊打发时间看，模仿星爷太严重，星爷都不这么拍电影了！哎
后面有点燃～女主还挺好看的。
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