25岁的奈奈子厌倦了都市生活，欧美回到故乡冲绳泡国岛，欧美她受到了生性热情的岛民和祖父母的热情接待，很快变得开心起来。不久后，奈奈子发现祖母的情况有些反常。原来60年前和祖母分手的恋人秘密回到了岛上。岛民们开始骚动起来，聚在一起商量对策，并找来了占卜师，威胁奈奈子的祖母不让她私奔离岛。最终，祖母还是抛下了家人，和旧情人坐船离开了小岛。望着祖母幸福的样子，奈奈子决定留在岛上生活陪伴祖父，她和福之助结婚，开始开创新的生活……幕后制作：本片是一出爱情喜剧。以冲绳的一个小岛为舞台，生动地描绘出一场有趣的骚动——这场骚动的中心是一位为了60年前的爱情再次心动不已的老婆婆。同时，片中交织了两代人的爱与生活，祖母的爱情让奈奈子也找到了自己的爱情，确定了自己的生活方式。本片的配乐十分出色，许多精通琉球音乐的艺术家构成了富有实力的制作群，大量琉球民谣被采编进来，并以歌剧、凯尔特民歌等作为辅助，使得影片格外地具有民俗风味，让人难忘。本片获得了日本国内的多项大奖，在国际上也受到了赞誉。
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.
翟惠民
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金震彪
回复 :武城佛光寺有个传说：文身地图加上寻宝诀和舍利光，就能找到巨大宝藏。皇帝派出带刀侍卫燕十三，得到文身，并化名丁默来到武城。他在比武招亲中被县令崔毅然之女崔蕊看中。丁默和歌女梅玉莹相爱，他还帮助崔毅然找到了佛牙舍利，但舍利旋即被盗。崔毅然翻脸，他准备盗走宝藏和舍利逃亡日本。在崔蕊、梅玉莹和连九的舍身相助下，丁默杀死崔毅然，却发现所谓宝藏是铜矿矿脉，对于个人毫无用处。
