节日欢歌
9.0 |07月10日 |HD
简介:
卡萝是位脱口秀节目的女主持人,她对员工同事苛刻,对家人冷漠,甚至为了现在的事业失去了爱情。圣诞前夜的特别节目开始直前,卡萝躺在沙发上睡觉,去世的玛拉姑妈的灵魂来提醒卡萝,说会有三个圣诞精灵来拜访她。十二点整,第一个精灵来了,他带着卡萝回到了过去,有儿时的成长场景,还有卡萝和约翰的恋爱经历。不久第二个精灵带着卡萝到了她的助理家,她的姐姐家还有约翰的工作地点。最后第三个精灵带她来到了未来,当看到未来自己悲惨的下场,卡萝幡然醒悟。卡萝从梦中惊醒,开始改变自己,她的改变挽回了陷入危机中的亲情,友情。最终爱情也回到了她身边。
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简介: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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主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
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