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.
比刘镇伟自己狗尾续貂的续集强，戏剧新生活里就能看出来吴昊宸演技真的可以，真正的演员演网大，一堆没演技的鲜肉却能演资源最好的电视剧电影，简直讽刺。
炒冷饭。五星给吴孟达吧。大话西游系列是对西游记的暗黑解构，通过月光宝盒逆天改命的故事，其实只不过都是佛祖的棋子而已，最终都是悲剧收场
比较短，但是看着还蛮有意思的，至少比刘镇伟那些狗尾续貂的电影好看和用心多了。
至尊宝:“姑娘，我们好像在哪里见过“。紫霞:“我们还会再见的“。大话西游yyds
故事还可以，特效太五毛了，大部分一看都是绿幕拍的。实景部分的道具实在太差了
女主真不错，又有恋爱的感觉了，好美呀。整个剧还可以，演技和台词都挺好的，比院线那些好看
那一瞬间告别达叔的闪回…
一开始以为不好看，但是看完后还不错呀，鼓励一下，网大电影平时都是烂片多，所以很多人没看或者没认真看完就直接一星。可惜了。就是男女主颜值不太行，毕竟星爷的大话西游太经典了，但是这部改编得还行起码比刘镇伟自己拍的大话西游3好看一些，真是讽刺呀。用心打磨剧本，就算小成本也有不错的作品。
紫霞看着很舒服真的 笑得好好看 居然是剧版微微里的孟逸然 果然是发型造型耽误美女
拍的差的同时把时长控制在了80分钟以内还算有点自知之明，没用小刀会也值得一个赞。
3月7日改分记录：特么的本来是打及格分的，看到这么多无脑打一分无脑尬喷的NT给老子看怒了，怒改满分！艹！
太怪异了
看着达叔的遗作，虽然戏份不多，糙点雷同很多，男主好丑，整体剧情，值得怀念大话迷
中间星河大战；七彩石那段我以为我进了KTV包间
真的很不错了，服化道用心，细节致敬，故事完整，紫霞仙子也俏皮
看了b站上的推荐，满心欢喜的以为是可以碰瓷《大圣娶亲》的电影，结果还是失望了。
这版故事智商在线，紫霞灵性十足，打分是不是太低了点？
因为达叔才看的 经典往往不可复制 一言难尽啊
讲来讲去故事表达的主旨还是不能逃出周星驰的大话西游，没什么创新，无非是紫霞了到至尊宝的世界找悟空，然后错认，再相爱后来至尊宝为爱放弃一切，一切成空成为悟空就紫霞，再来一世轮回。就是表达人生轮回和为爱成空的主旨，讲来讲去老一套。
本来没兴趣，看了发条张推荐才去，确实有几个点挺戳人。
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