不安

1. 《不安》上映于哪一年？

《不安》由罗伯托·罗西里尼执导，1954年上映。这部影片被誉为其它剧情片的奠基之作，票房曾列年度前三。主演英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特演技精湛奠定地位，其塑造的角色至今仍被模仿。罗伯托·罗西里尼凭借此片回应了外界质疑，形成了独特的创作风格。影片在国际上也获得广泛赞誉，被视为可与80年代好莱坞同类佳作比肩的作品。

2. 作为剧情片开创性作品的《不安》，是罗伯托·罗西里尼的巅峰之作吗？

自罗伯托·罗西里尼荣获最佳导演奖后，此片即被影迷视为罗伯托·罗西里尼的艺术巅峰。尽管后续仍有佳作，该片仍被公认为其最具代表性的剧情片作品。。

3. 《不安》为何成为经典？

谈及其它剧情片，《不安》是一部不可忽视的作品。这部由罗伯托·罗西里尼执导、英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特主演的电影，上映时如同黑马般创造了票房奇迹。有趣的是，连创作者本人都未预料到影片能获得如此反响。罗伯托·罗西里尼曾坦言，这是一群处于低谷的电影人倾注心血的结晶——主演英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特此前已四年无戏可拍，团队早期作品也多反响平平。正是这种共同的困境，激发了创作热情。影片中人物的命运起伏，恰似创作者们现实处境的写照。凭借不屈的执着，他们以扎实的功底完成了这部影史经典，实现了自我超越。

4. 如何评价《不安》？

《不安》口碑出众，深受喜爱，上映后好评不断，这不仅得益于英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特的精彩演绎，也源于剧情片剧情本身的紧凑动人。在91影院（www.enticiowrite.com）观看可获得流畅体验。该片目前虽非收视榜首，但受欢迎度已稳居同类前列。英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特的表演可圈可点，广受影迷认可。

5. 《不安》是罗伯托·罗西里尼导演的一部超级经典的剧情其它片，该剧讲述了：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the oth，好剧持续推荐中，建议立即收藏本站。这里是一站式影视资源库，精彩不容错过：www.enticiowrite.com

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.