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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.

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香港商界巨鳄李绍邦（黄锦江 饰）长期从事买空卖空的生意，利用商界和政界的关系大赚黑心钱财。他的举动很快被商业犯罪调查科察觉，而督察James（张国梁 饰）和搭档John（王敏德 饰）正负责此案。 James的女友Suki（张敏 饰）是一家公司的白领，其老板黄威廉与李绍邦互有勾结。John趁Suki随老板与李谈生意之际放入窃听器，得知李、黄以及陈德信等人的暗箱勾当。然当晚陈离奇身亡，次日调查科逮捕黄，黄却被当街射杀。黄手中掌握一份攸关李之命运的重要文件，这份文件也便成为案件侦破的关键……

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他年届50， 生性耿直，虽文化不高却足智多谋，他用最为简单的办法，侦破了许多的复杂的案子； 他刚正不阿，多大的领导面前，为了原则，他都“六亲不认”，以“得罪光全世界的人为己任”。 他重情重义，为了战友，他默默奉献，为了家庭，他忍辱负重； 他对警察的职业一往情深，但是，在警察的岗位上却几经浮沉； 他几度命悬一线，大难不死，被人们称为“张不死”、“九命猫”； 他就是张焱，大丰市清河县刑警大队副队长； 张焱、范志钦、杨广德、冯旭是四个战友，退伍之后各自在不同岗位上。范志钦是县公安局的副局长，冯旭是当地“旭日矿业”的老板。杨广德是基层派出所的所长。张焱的老伴李玉梅是“旭日矿业”的仓管员。 在张焱生日当天，本可以留在家里庆祝，他却参与绑架案的侦破，在他的指挥下，抓获了犯罪嫌疑人。回警局途中，他和徒弟一起不慎把缴获的土枪丢了！虽然在36小时里找到了丢失的枪支，但他由于丢枪问题，受到纪律处分，被撤职后下调到杨广德所在的派出所工作。 张焱到了派出所，刚好遇上警校高材生万山进入派出所工作，并在一系列“大妈丢猫”“邻里狗粪纠纷”“网吧骗子”“抓赌”“离奇失踪”等案件中结下深厚的师徒感情。张焱在派出所里，一边工作，一边深入侦察。他对派出所的繁琐工作既有怨言，也有热情，无论事情大小都能非常出色地完成。在一举破获一起非法集资案，为群众挽回大量财产损失后，公安局决定调张焱回刑警队。但张焱却因为私自外提犯人大强到医院见其母亲最后一面，违反纪律而不得不宣布内退。 杨广德是勤勤恳恳的一位基层派出所所长，张焱和杨广德的感情深厚，杨广德的儿子结婚，张焱助其巧破“碰瓷”闹剧。而就在这时，谢建华强奸未遂案即将有所突破，鬼使神差杨广德刚刚好替代张焱出警，但在行动中杨广德却不幸光荣殉职。于是，张焱又放弃了内退的念头，决定查清真相，为老战友报仇。 随着张焱的坚持不懈，谢建华强奸未遂案被老张翻案，谢建华得到政府的赔偿。冯旭指使人绑架谢建华的案件，范志钦的渎职违法问题渐渐浮出水面…… 最后，张焱在和犯罪嫌疑人搏斗时，身负重伤，生命危在旦夕。他以自己的一生诠释了一位普通警察心灵深处对信仰、责任和真情的一份坚守和执着。

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