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.
走马观花的推理过程，感情转折都很刻意，如果结局不拉扯进来一个强大的势力是不是就没得打了？大团圆结局有tvb感觉，肯定的是方中信与智叔的演技，收放自如，张建声也可圈可点。
从电影的角度来说，这个收尾真是很牵强，但同为父母，我倒是能理解这样的安排和表达。
每次看到关于律师题材的片就会非常羡慕律师
如果强权最后只会输给反水的强钱，并不知道站在鸡蛋这边会有什么希望。
希望以后可以跟学法的女孩子谈恋爱，在看这种电影或剧的时候给我讲科普
本来勉强打个三分，但爱了这句话：“我是害怕究竟带她来到一个怎样的世界” 这个世界不是非黑即白，但是我们应当追求正义和分辨是非，而不是拿这些话去劝人权衡利益。
演技演技不在线 剧情牵强 用力过猛 看的原因是youtube免费……
2021年的香港电影，比起其他同地区同时期电影，我倒觉得这部电影算是比较好的了。。。
不完美的律政影片，因为重点既不是法庭本身，也不是警匪破案，反而多的是心路的纠葛和现实的无奈………
开头十分钟就一股上世纪三流港片的味道，弃了
看完感觉蛮复杂的心情，提到鸡蛋跟高墙的对立，结果打败高墙的是团伙的内讧，以及用伪造证据的手法。程序非正义的正义是不是正义？
低分原因估计是因为还是要靠富豪弄倒富豪，我感觉还可以这片。牵强的地方稍微多了点哈。
男二律师演的太水了吧，是带资进组吗？故事 演技 节奏不行，电影都不如电视剧，不如TVB 不如傲骨贤妻里的一集内容。
船上飙戏那段看的很过瘾，结尾雷大状那番话很引人深思，我们究竟要给下一代一个什么样的世界，感谢还有人为了正义和平等坚持下去
挺遗憾的，这个卡司居然不配一个好剧本，节奏实在太烂了，一些人设和剧情转变得太突然，看得有点疑惑，突然就这样那样了。新生代的女演员是真的各方面都不太行，还没出场只有几分钟没台词的廖碧儿强。多一星给廖启智。
港片真是没落了，多加一星给阵容和演技。其实是权力金钱的决斗，不过最后的结局也不错，起码没有冤枉了那个小青年。
现在的港片又到了需要强心剂的年代，后劲愈发不足了。这不仅仅是编剧的事情，更是包括剪辑在内一众团队都需要思考的问题。
港剧的质感，拍的不错，但是故事很套路没有创新
屎到爆炸，旧桥旧戏，好似睇紧90年代TVB刑事侦缉档案，以后呢d甘嘅老戏骨磨皮加九流剧本可以统称为TVB大网剧。
方中信演律师还是挺有气质的。李逸峰在酒吧认识漂亮的美女，一夜邂逅就变成了杀人嫌疑犯。这个案件还是比较简单，有点以前TVB港剧的感觉。
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