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Whenever I see La Paura I think of it as a comanion iece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Philli French was right on the money when he ointed out a Wizard of Oz thing in Kubrick#39;s last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy#39;s reassuring childish motto quot;there#39;s no lace like homequot; is ironically udated to the adult circumstantial adage quot;there#39;s no sex like marital sexquot;. Kubrick#39;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 hay ending. The city is noir; the country is tale, the territory where childhood is ossible. The transition is oerated 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 landscae but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman#39;s been cheating on her husband. At first guilt is just sychological torture but soon exands 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 lot before the main character can find out does he want us to feel something Bergman still can#39;t. When she finds out, we have already exerienced the wared mechanics of the situation and we may focus once again on the emotional imact it has on Bergman#39;s Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the coule#39;s venom suurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn#39;t dare ut her away as he did in Euroa 51, nor does he abandon her to the inscrutable imassivity 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 landscae where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of slee. After all, it#39;s the quot;fairy godmotherquot; who seaks the last words in the movie.
