片名:《不安》

類(lèi)型:劇情片

上映時(shí)間:1954

上映地區(qū):其它

導(dǎo)演:羅伯托·羅西里尼

主演:英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特

集數(shù): 更新至0集

語(yǔ)言:其它

【同輝影院】分享劇情片不安全集在線免費(fèi)觀看高清720P播放地址，不安講述了一個(gè)普通而不平凡的故事，由不安的演員英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特實(shí)力演繹，不管是微表情還是表演動(dòng)作上，把角色都塑造得非常成功，每個(gè)角色都有自己鮮明的個(gè)性，讓觀眾們能夠更好地融入到劇情之中。不安是1954年上映，非常好看的電影。

《不安》觀后點(diǎn)評(píng)：電影不安真是太好看了！不安劇情緊湊扣人心弦，每一個(gè)轉(zhuǎn)折都讓人捧腹大笑，同時(shí)又讓人熱淚盈眶；不安的音樂(lè)選材旋律優(yōu)美，不僅完美地融入到劇情當(dāng)中，還增加了劇情片不安的劇情氛圍，絕對(duì)值得一看。

《不安》抖音網(wǎng)友點(diǎn)評(píng)：不安的臺(tái)詞設(shè)計(jì)非常精彩，讓觀眾印象深刻；不安的演員英格麗·褒曼,馬蒂亞斯·維曼,雷娜特·曼哈特個(gè)個(gè)演技精湛，從對(duì)劇情的精準(zhǔn)把握到表情和動(dòng)作的發(fā)揮上，都契合了不安的故事主題，既滿(mǎn)足了觀眾們對(duì)于劇情的期待，又給人留下了思考的空間。是1954年值得一看的電影。

不安講述了：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.