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青之炎

导演:
蜷川幸雄
主演:
二宫和也,松浦亚弥,秋吉久美子,山本宽斋,中村梅雀,铃木杏,六平直政,唐泽寿明,竹中直人,Mike Han,川村阳介,Koji Yamamoto
别名:
未知
0.0
1人评分
日语
语言
2003-03-15
上映时间
未知
片长
简介:
国中二年级学生栉森秀一(二宫和也 饰)与母亲友子(秋吉久美子 饰)、妹妹遥香(铃木杏 饰)住在一起。秀一的父亲早年间车祸去世,十年前母亲改嫁曾根隆司(山本寛斎 饰),而这段婚姻又因为曾根的暴力倾向而夭折。  某天,曾根返回栉森家。秀一发现,母亲似乎有某种隐忧而不愿将曾根赶 出家门,另一方面,曾根好像又对遥香心怀不轨。对继父心存愤恨的秀一无计可施,于是通过网络购买碳酸钾,决定将曾根杀于无形。他的计划顺利实施,但他本人也越陷越深……  本片根据貴志祐介同名小说改编。

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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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