Whene😁]v😌😙?er I s🤗🥰ee La Paura I think of%😚🤥 it as a c^!ompa😴nion piece -$\😜to E😒ye😙🙃s Wide S😔😑hut, or ma=(:😍ybe it is] the🤮  ot🙃her way arou😘!:/nd. Adultery ma;:kes 😬both films 😑🤗🤔🤩tick but in d😊🥰😃iff;😘😁e😑rent🤤_🙄 🤗[w😆😪😚ays. I
😙,😒think Phillip F😇🤢=rench 😜=w\ as )%righ😒.t on the money 🤔when he pointe🙃😐d out a W😋😪😋\iza😅😒`#🤥rd%😪 of Oz th😋😜ing in Kubrick'😷*s🙄 😄😐 last w
_😏🤗ork. Like Do😪rothy, Tom and 😏?😛@Nico😂🤨le go ]😍=😝=through fantas🤨😔🤩;😬ie?😚s and ni😔$g`@$
😔htm*😂\😏a+-😏🙂*res and 🤐🤣at the end 🥰🙂D🙄🙄%orothy😃😃🤩's re?=😌assuring c;🙃😬 h😘😬ildish m🤤🤨😙🤕otto ther!😆e' 😷s n😴o place😅😘🤔 like h😆🤮ome is ironical#😃ly 😴😜!updated to the adult c🙃#😬ir(😷^😘cumstantial adage t😆😔🤥😴h😃[😍ere's no sex 😊😌 like mar😷😙😘i
tal [sex. Kub-😝,rick's😶+) t🤨🤮😬😬ak😚😙e is intellec\🤐t😄?😇ual, 🙄😛😃he neve🤫
😆🤥😒r le😔😂😁🙄aves the wor 😊😛🤨ld o 🤭,f ideas t🤤😔o t\_😛🤑o[🤣uch the [🤮🤔ground. 🤮_-🤫He taunts the +🤗😃🤫🥰au😌😅😀😁dience f,🤢🤥ir🙃
😃😇st w🤪(ith an🤗😐 er*😔🤨oti😐😍c movie a🤥] nd then with a thril ler and re/🤕fuses @😂+😔to deliv😗*🤨er ei;🤔🤕#😒ther o😅😗f t🤩 )hem. He w😜🤑as marrie🤤🤗d:; 😃to %his 🤒😘😆t😊*😚[h🤨_,ird /wife for 4🤔😃😛🤭0 years, unt😪😗il he😬- 😑😂 😗
died. 🤗😜`(Ro🤣🤑ssellini was still mar😀+😋!;rie🤕+d- ,😂😷😪t🤭? o😇% 😐😗Ingr😅😋id B😚+=ergman when he😇🤕 directed La(😪 Pau😃 ra; they ha🤗🙃d🤣🤭😗 been ad😛ulterou😁🤪s lovers and😚😗 their in[ f%😚😙🤨/idelity wid_*ely 😜😊!criticized La Pa🤪🤗😚😋😃u🤤 /`ra is a t`🥰ale, a 😐😃n+(oirish one. The noir intrigue i🤫🤕s solved and the 😀🥰🤒t!/😇😔ale h🤥🥰`as a ha😃🤔ppy 😄🤩 ending.😙!🥰 The c;-😝it ^🤮y is noir🤨😐🤭; the country:$ i🤫_😆😜s tale, the terr😑$😛itory w+here ch ildhoo😒#d is possible. The transi[[@)tion i🙃🤨s @😝^operated in the most r😗😙:egular way by c]😂ar,😊  a 😀lo😷🤩ng-held shot ta$😘*ken from😆😇 the]* 😗😍 😍🤥😪front of 🙃the c🤨😙ar🤐😴/ as it ri)😑🤐😚🤮d😝es into th🤥(🤢$e road, as if we w🤣😌🤭🙃e🤐🤨😅re enterin😗😬g a d😐+ifferent d😆-😝i🤔😘mension. 😬%Irene (Be😔🤒🤕?r😛 🤨gman
🥰)🤑 starts the movie we jus🙂😙t see a ;,😂dark city l)😁,🤭a😷%;😌ndscape but her `🤕voice-over 🥰🤗🥰narrati /on, te🤩😔lls us o😃
😅_😜f her a🤮😛n😁😴😐🤥😂g😝_[🤣🤩st 😷and +🤮😬info😉🤑rms 😜😏😙
us that the s😚🤥🤣tory is @😑-😝🤐a flashback, 😇%🤢hers//. Ber😄🤭🤩gman's🤐🤮😝[ been ch😐+_e*🥰😑ating😴🤤/ on her h 😋 🤭usba😴+nd. At first guil😙t is just p😋😋syc😃[hol=😀😴o\%g😌😆🤤🙂ical🤑
tort😶😏😙,ure bu🤤😁😆t soon ex(`
pands int#🤢o 😊😚ec
😝/🤮😒onom😏🙂🤔🤕ic blac😅)😐kmail and then gr😶🤑ows into. something else🤢🤨\🤪😊. From begi🙄:n🥰🤭🤩🤤ning ,t🤑🤢😬o end $_😄the movie focuse🙄🤫🤭 s on 😚@ #🤗what Ber😶😙🙂😃gma@😏🤮n feels, every oth😀😄er😂_ charac😚 😚😒ter*😔😂 is there to ma😴😊🤮ke .😗😴*😌her feel =🤮 somet😪🤥hi😊😁ng.😔😘🤩 O😙😍+😚nly when the director giv😶es away th🤣😜😷🙄e plot bef.😚🤥or😛e the m🤪]😃ain character.😁 ca😴=.😗n fi🙂🤣nd out😚😐 does he want 😪🤤😀😃u🤥😘_s 😌🤔t😛🤑o feel 😑$s🤣omething Bergman sti😴🤫ll can't. When sh🤨😑e find+🙃s out, we have)😷#`, al😐🤒😴read😴*😘y e🤩😒xperienced the w😀!😘arped mech- ani?cs_-🤤: of the situat😋😊😇🤣😝i🙂on and 😁😊🙂 w-e 😋m😪😛ay(😴🤨 focus once ,😃[😁aga+🤩i^😴🙂n on the😑😪 😜 emo=🤒$tional im)_🤢pact i🤑😆😚🤒t has😶+🤥🤗? on Bergman's Ir_😁 .😙e😆😪🤐ne( -. I😏=* n😀:😷 La Paura treas;😪=😅🤩o@😍(🤗ns are 😄not 🤐imagined but😛[😘 rea😇`🤗(l, nightma🤔🤐res are d😗)😅😆eliberate and,😶 🤔_😙t!%🤫h🤢😅🤥🤢e couple's 😚venom suppurat😄😶😬😐es i 🤕😑n bitter ways.] Need%😄les@,s to say😷🤩🤗, Ingrid 🤪😙 has another of her rou!_🤢😆gh 🤨,rides in the movies !b😛🤔😀😪🤩ut 🤑
/Ro😁😃]😙sselli😴😐ni d😛 🤫😑oesn't dare 🥰🤒#)put her away 🤮😝as🤕🤪 😶he😍😍 d]😷😘😛id😏🤗 in )😌Eur🤕$😚😃opa 51, n🤭😜😛or d😅🤩oe@😍s he abando`😉,n h🤢🤗😜er to th:😌\e ins😋🙄crutable impassivi😍😀😔ty%😘*🤒 of nature (Stromboli). His gift is🤑@ l🤔 e^🙃🤨?🤨ss transcende🤣🤩%nt and😪😅😀 fragi$😪;!l 😜😘e than[ t😌#🤗he con😒[c😁)lusion o🤩f V`*iag😏😋#;gio in Ita😷lia. He 😶.!just😍🤨 gi🤢😶]v[es🤥;🤮 his?_😏 w🤑😊😝i😀🤑🤤😪f😉
e as m😅🤑+uc😝😒😀h -🤤of a🤩`😛
fairy tale e🤔🤢nding😍 as a real woman can 🤑😑ha^😆🤔ve, a hu😐
🤪ma🤮🤐😆n l 😴andscape wh😘`😔🤔ere she 😆😉🙃ca🤑🙃😘n😝🤥 😌-finally:🙂= f🤩 eel at home😉😘😅. Back t😊🤪 🤒o the country, a h🤩 al😅😌!😆f lit inter+io😀🤤r scene where
😍]🤣 shadows suggest😛🤐😜 t\😅he comfor
t of s.$leep. 😬😐Af😄😚te+🙃r = 😜🤢al`+`l😔😍, 😒🤐it's the fai;🤣ry godmother who😘😗+ 😀,#😒speaks the las%😙🤥🙃t words in the movie.