因无法忍受家人所带来的压力，春暖少女莫妮卡（哈里特·安德森 Harriet Andersson 饰）决定离家出走，春暖她找到了与自己情投意合的男孩哈里（Lars Ekborg 饰），希望能够与他一同生活。莫妮卡的到来让哈里欣喜若狂，在丢掉了工作后，两人驾着小艇，度过了一段悠游自 在的快乐时光。可是，逐渐拮据的经济让两个年轻人意识到这种生活并非长久之计，与此同时，莫妮卡的怀孕也给两人之间的关系带来了质的改变。莫妮卡和哈里结婚了，哈里外出工作，莫妮卡生下了一个可爱的女儿。然而，孩子的到来并没有让莫妮卡感到快乐，反而让她感到了束缚和不自由，而在日复一日的枯燥工作中，莫妮卡和曾经的情人旧情复燃，一个本来美满和睦的家庭开始分崩离析。
野仔
回复 :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.
香港醒狮团
回复 :
林建亨
回复 :为富家女田思思（米雪）娇生惯养，刁蛮成性，喜武功，其父每斥资请武林高手与其交手，佯作打败，田自感武功高强，其侍婢（林秀君）每日讲述武林故事，谈及高手秦歌（陈观泰）潇洒风流，万夫莫敌，田为之心慕神往，忽闻其父将其许配与一名杨凡（元德）者，心有不甘，乃与婢女扮男装，夤夜出走，寻访秦歌……
