User reviews

A simple story about a simple thing, blackmail. Ingrid Bergman and her husband work in a facility that is trying to work on medical issues, such as the destruction of heart tissue. Bergman, much younger than her husband, has a fling with a playboy type. In the process, an evil woman blackmails her and with each payoff, the amount increases. The film is full of tension as Bergman rushes to get more to this woman. Finally, a ring that means a great deal to the husband is taken. She has to get it back. The events that follow are rather hard to swallow and seem, for me, to diminish the story. Bergman does a slow burn when she gets to that "I've had enough" stage. Things become way too contrived. After seeing the ending, say to yourself, "Is this a real conclusion, even in a 1954 film drama. Bergman, as always, does a really nice job.

I viewed a copy of a copy on video of this film and so the video quality was not that great. First, what did I like and not like? I didn't like the beginning or ending, but the rest of the movie was very good. Ingrid Bergman does a very fine job as the wife who has a secret to hide and will go to great lengths out of fear, hence the title of the movie, to prevent her husband from finding out. As the husband, Mathias Wieman does an excellent job playing the part of the kind, understanding Professor Wagner who is not as he seems. Overall, the film is a fine psychological thriller in the manner of Hitchcock and I won't give away the film noirish plot twist or the problematic, to me, ending. This movie is little known but well worth a look.

Rossellini shot two versions of 'La Paura', one in German ('Angst') and an international version ('Fear'). The two differ in shots and editing. The first Italian version ('La Paura') corresponds to the international one. Later on another shorter version was distributed by the title 'Non credo più nell'amore'. This restoration is the reconstruction of the international version, 'Fear', and it started from the negative of 'Non credo più nell'amore' and by two vintage duplicates, a positive and a negative. The latter, with a number of vintage prints, were used as reference to reconstruct the editing. I watched the international 'Fear'.

I can't help but feel a film about a woman living in constant fear as a direct result of her own infidelity would have fit into the Rossellini + Bergman catalogue so brilliantly just 3 or 4 years prior when they both were living in fear as a direct result of their own sinful affair's scandalisation of America. As it is, I feel that 'Fear' is distant from all collaborating on it. Lack of thought becomes uncharacteristically apparent in the closing act, and the reason for that seems to be a lack of care for a project that could have been so special, so Kiarostami, in a weird, Rossellini kind of way.

Starts out pretty well with an intelligent and interesting examination of a woman in the throes of infidelity guilt who is being pestered by a blackmailer. But then Rossellini decides to go all Claude Chabrol on us and the plot starts twisting as credibility and its constant companion, interest, go flying out the window.

Is it just me or does Rossellini tend to do this in his films? Did you notice how "Rome, Open City" switched from gritty neo realism to Nazi porn about halfway through? And "Europa 51",in the last third, goes from being a study of a mother's lost soul after the death of her son to a womans prison pic. Really wish this good director wouldn't do this, especially as the directions he veers toward are much less compelling than the ones left behind.

Give this one a C plus.

This is the last film that Bergman and Rossellini did together. Their marriage was on the rocks and perhaps this was like a throwaway movie because that's what I feel after watching this. The plot does no have subplot, depth or whatever. It's clear cut plot about a woman being blackmailed by the lover's wife, and she is being paranoid about it trying to hide it from her husband. And little did she know that...(I won't spoil it for you). But there is all about. Bergman was great as usual but that's the only good thing. I felt like the director falling asleep all the while directing this. And the ending was a bit rushed. I only recommend this for Bergman fans only (I know there are lots and lots of them out there) who wants to experience this whole Bergmania.

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.

Shades of Hitchcock in this somewhat atypical Ingrid Bergman - Roberto Rossellini collaboration. Most of the film appears simple and straightforward; there is an effective plot twist in the middle, but the ending is rather weak and anticlimactic. Bergman brings her customary class and consumate skill to the project; the little-known Renate Mannhardt is arguably even better as the kind of blackmailer I'd gladly give in to any of her demands! She certainly holds her own in their one-on-one confrontations, which are the best scenes in the film. Some of the English dubbing sounds a little awkward. **1/2 out of 4.

Ingrid Bergman is "Irene" married to "Albert" (Mathias Wieman) but has been having an affair with the much younger "Erich" (Kurt Kreuger). The relentlessness of the secret-keeping takes it's toll and "Irene" tries to end it all. Her secret is not quite as safe as she had thought, though - and she soon discovers that opportunist "Johanna" (Renate Mannhardt) knows the score and wants 3,000 Marks to keep silent. Will that do the trick, or is that just the start of an even more slippery slope? This is short and sweet - reasonably paced, with decent characterisations from Bergman and her grasping nemesis Mannhardt, but the story itself it overly simple and lacks any sense of jeopardy. We always know what is going to happen - and although Roberto Rossellini does try to inject the merest hint of menace, Bergman is all just too "nice" to be convincing. She has the bad temper of a field mouse.

In this film, Ingrid Bergman plays a woman who ends an affair she began when her husband was in prison. Her lover isn't too happy with the idea and she has her guilt to contend with, but her problems compound significantly when her lover's ex-girlfriend (Renate Mannhardt) turns up and begins blackmailing her. She thinks she can keep a lid on things, but naturally it isn't so easy.

The film is based on a novella from the marvelous author Stefan Zweig, which perhaps explains how well its escalation was crafted. Bergman and Mannhardt are both wonderful, and Rossellini tells the story with great restraint, avoiding unnecessary embellishment. We don't see flashbacks to the affair because while it set these events in motion, it isn't important to the drama. The plot twist is one that viewers can probably see coming, but it's revealed simply, with the sense of Rossellini respecting the viewer's intelligence.

Mathias Wieman plays the husband and he's strong here too; his character is fleshed out in a couple of fine subplots. In the first, he coolly experiments with drugs on lab animals which regularly causes them to suffer and die, and it's notable comparing his reaction to that of his wife early on. Later we see him dispatch stern punishment psychologically to his children over a disagreement involving a rifle that the boy got, but his younger sister wanted.

The film is taut at 78 minutes, which was a strength, but Rossellini finds the time to give us street scenes in Germany as well as the fantastic long shot with Bergman's shadow on the ceiling of the deserted lab at night. The dubbing, common to Italian films for decades, is unfortunate, but not overly so. The biggest issue was the ending, which felt too forced and convenient, especially after we had been led along a path with real cruelty and darkness in it. I considered knocking my review score down a bit because of it, but felt that maybe Rossellini and Bergman's personal life had caused him to end it this way, and in event, what had come before it carried the day for me.