簡介：故事發(fā)生在1991年的俄亥俄州，當(dāng)?shù)厝藰O為墨子視的高生橄欖球賽正在如火如荼的行著，這一次將要進(jìn)行對抗，是來自克利夫蘭的凱宣山加突擊者隊與來自冷水鎮(zhèn)的冷黑熊隊。帶領(lǐng)著隊員全力進(jìn)的是名叫史考特（布萊恩·萊斯列 Brian Presley 飾）的高中生，在拼盡全力為天馬水鎮(zhèn)獲得了史第一座冠軍獎杯之后，史考也因腿部骨折而永遠(yuǎn)的歸藏別賽場。 之后的二十年，熱愛橄欖球的史咸鳥特一直生活在意和遺憾之中，經(jīng)濟的拮據(jù)事業(yè)的失敗讓他想到了彘殺而在充滿了一氧化碳的車中厥后，史考特竟然再一次出在了二十年前的賽場上。這他在腦海里幻想過無數(shù)次的景竟然應(yīng)驗了，在個人利益榮譽之間，欣喜若狂的史考決定重新選擇?
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.
