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不安
其它其它1954
  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.

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龙行天下
大陆国语2010
  《龙Ⅱ》共四个单元:1、绣球奇案 2、鬼新娘 3、真假国主 4、糊涂县令妙钦差 司马玉龙自复国之后,因念念不忘失踪的太后,化名为楚天佑,在忠义侯赵羽和红颜知己珊珊以及精通医术,为人善良逗趣的丁五味的陪同下,一路边找寻太后,边铲除前朝余孽及贪官污吏,平复了许多人世间的泣血奇冤,深得百姓爱戴。 《绣球奇案》描述的顺天县三年连续死了四个县令,让天佑倍感蹊跷,于是以新任县令的身份来到该县。但是一上任便危机四伏,似乎有人在阻止查案的继续。离奇的是,该县死去的四个县令皆曾是本地大善人桂万军之女婿。听闻桂家女桂珠又要抛绣球招亲,恐天佑遭不测,赵羽乔装,接了绣球,成为桂万军的女婿。于是谜团一层层被拨开,桂万军乃叛国贼叶洪的结义兄弟,行踪诡异的求心痷住持则与桂万军关系密切,传言死于火窟的县令董歌居然还活在人世。天佑等人深入虎穴,粉碎了桂万军谋反朝廷的阴谋…… 《鬼新娘》描述的是天佑等人前往白杨县途中,遇到了一连串离奇的事情,五味梦中的鬼新娘,渡船的女船夫,怪风吹至的仕女图,这三个女子的长相居然一模一样。他们查出女船夫凤仪在出嫁途中遇害,侥幸未死,但发现有人冒充其新娘身份嫁入刘家,而青桐县娘家又惨遭祝融之祸,无人生还。天佑三人分头查案,五味与凤仪用计混进刘家,两人克服险阻,合力保护刘家人的生命和财产;天佑赴青桐县查何家火灾,险遭不测,但终究借助官府的力量,查出了真相。一桩恶仆惨杀主子,谋财害命的冤屈大案浮出水面……   《真假国主》描述的是天佑到松浦县寻找母后,险遭屠龙会暗害。樵夫刘永孝之妻明珠替父扫墓,也遭屠龙会围杀,其子得宝落崖,幸得天佑等人相救。而刘永孝因相貌与天佑极似,后因捡拾了天佑的印鉴,被屠龙会抓住,令其冒充真国主,目的是为了埋藏在该县某处的护国宝藏电视剧《龙行天下》剧照(11张)。天佑等人得知了屠龙会的阴险目的,又获知明珠乃将门之后,身藏宝藏之秘。在明珠被擒之后,他们便与屠龙会展开了斗智斗勇的生死较量,天佑更是几度身陷囹圄,但吉人自有天相,在丐帮的帮助下,众人合力,救出了明珠一家,护国宝藏也重见天日…… 《糊涂县令妙钦差》描述的是太平县首富乌家少爷纳妾之夜,乌员外被人下毒,天佑三人恰巧也在府中,他们被糊涂县令哈喜儿误认为杀人凶手,后因五味救治,乌员外虽未醒,但保住了性命。天佑等人才得以获释。五味冒充钦差大人介入查案,乌家媳妇和老夫人争相认罪,家仆和小妾指证老爷奸污儿媳,少爷下毒弑父,让案情扑朔迷离,使其无法辨清谁究竟是真正的凶手,幸亏天佑和珊珊暗中相助,牵出了一桩复仇旧案,因为一场误会,纠葛了二十年的恩怨,终于在天佑的相助下,冰释前嫌,故事有了一个圆满的结局…… 虽然太后依旧下落不明,但玉龙并不放弃,寻母之路仍将继续。这一路走来,一件件一桩桩事情,让身为国主的玉龙倍感自己肩负的责任之重,明白唯有仁民爱物,做一个明君,社稷才能安定,百姓才会和乐。

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