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Whenever I see La+)😄 🤢😆🤔*😴P😴😚.😙aura I#😍😔 think of it) as a co🤨mpan😬,😁ion piece to \🤑🤫Eyes 🤒😐#%)Wide Shu😄🤑😝t, o😁😍$r ?🤤ma!ybe it i🙂😙🤢s_😒😔[ t;\😪😅he other way a😇🙂🤗/r%😴🤮oun🤩🤔🤥 d. Adulte,🤑-ry *#makes b!🤫🤣oth 😍🤕=f🤫😬😬😆i😇😗lms tick but -😶in different+😗😜 wa🤭😌ys
😇😉🙄.😃😋😏* I th(🤨/ink Phillip French+😜🤫🤨😬 was+😝[) right on th😆😬e money when he😪😁🙂😉🤫 pointed out 🤢@🤑a Wizard] of Oz thing i🙃😚🤤n Kubrick's last🤔🤑 work. Like 😄Doro😇%t🤥🤕😙hy,.$ T! (🤤om and Nicole go t🤕🤐hrou😁😪g!😉h 🤐fantasies and nig🤭.😐🙃h+😜tma* re,🤭`🙄s and at the e 😝😚🤑n😇 😊^d Dorot😌🤥hy's r🙃😪eassur😚😒😁 in🤑g😷😜]😴 childish motto there's n🤪=😷o:[. place like h😊😌ome i*😌s ironically upd%😒😁😁ated t]`😊o the+.
adult circumstantial ad;😌age there😄=🤨🤒's no sex like ma🤩rital sex🤤 %. Ku😇😆😅bri🤗🤮😶ck's take i🤐😑s int🤭😍😅ellectual, he 😶n#🤒e😔ve😔=🤗r lea#🤐🙂😛v😇,🤑😚es the@😀🤒🤥 world of 🥰😪ideas to touch t==he😆😙 g#😗ro😙und. He taunts the aud😁😂/ience fi_😗r🤗😘/st wit😗 😚h an$( ^\😀?erotic movi🤒e \an🤢]]d then with a thri*l🤢/😗ler and refuses to 🤫😉😇d
@*el 😪😝;iv%\\er either of t🙄😐🥰🤭hem.🙂🙂 H😏e was married to his third wif🤥😑e 😂(for😙 40 year@🤑🤐😒s, unti😇😂😃l he * died. Rosse😘#l!li😐😃😴ni( was still m?🙃arried to Ingrid B😄🤐ergman when he dire😀c🤮🙂ted😊🤮🤣 La Paura ^,; they had been a*\😴😛dulterous lovers\ /😪 😬🤔%and the🤫😶ir infide+😐lity wid😒 😏`ely c😃#😘😁riticized La😑🤪/ Paura is a t😙🤥al😅🙄😊e,😚🤩 a noi🤨rish one🤒@. The noir intrig🤭😏🤩ue is s_🤩😐🤗ol.😄😆😂ved a😉😚-]nd
😴 the tale ha(🤥😊🤫s 😑)😔 %🤮😂😃a happy en-.%d^!i😄😌🤐)ng. The city is no🤫ir; 😬\the countr\y is tal-e,🤥🤥 the$😙 terr😊.😁🤔itor*y w._h)😌e😉😜🤥r😇e#😆🤣 childhood is possible. The transition 🤣=😅is )😌,opera[🤫😐$t.ed in the mos$t r#🤗😘egular🙃?😏🤪 way by c😋🤣ar,@🤕 a long-held shot taken f😙?r😆🤕om the😑😐🤤🤭 front of the car as 🤪🤪it 🥰🤤rid@]es int😍🤪o th😒😄🥰e road, as if we were ent^-%🤑🤨ering a d😶🤫😉🤢iffere🙄nt 😘🤒@@di(😊😷mension. Irene (B)🤩ergman)*🥰 start]😗s th-😘(e😀,😀 🤕🤤movie we just😘😪😁 s$)🥰 .ee:%. 😋😜$ 😍a d;😂🤑🙂ar=🤫k$🙄 city landscap😃😅e b;ut h*.🤩er voic/😌😴😊e-over 😚n😏😬:arrat
😬😛ion tells us o😗]f) her angst and inform😏s us that the %*stor`🤢_😔y is a flashba$😇^-😪ck😊😀, hers.😁😐 Bergman😄's been che
ating on her hus(😘b@🤢a🙂, ^nd. At first guilt is   just )$🤥🤔psych )olog!😆#ical tor🤭🤤🤑%tur(#😂🤑e but soon :🙂🤔😐expands 🤭int😷😏o😄🤥 eco🙄🤗nomic 😌🤫blackmail and t😴🤭🙂😘h😷😅en grows😴😙?🤤 i😪🤥n😝,😏to somethi😁!n#?g else. From begi😁nnin(🤨g to 🤕😍end t😅🤥he movi_e focus😊😑es on what 😬🤮Berg^😒man😪 fee[`.🙄ls, every*🤢 other cha racter [:[is +th🤤
😂🤤ere to🤣^😌 mak😘@😘e h@😘🙄er feel😇^😋 so😐🤮met🤣🤤hing😆😝😂@. On]l😏🤨😔😃y 😄🤔when 😄]the d🤐😬ir😆😛
ect,😗or g😀😴@ives away th😪😴😇
e plot before ]🤥😙t😆🤕he main cha
racter can fi%nd out does he want😍 us to f.😘eel somethin😶🤗😝g Bergman sti, 😆🙃ll😆 can'😛😔%t. When she find😅s😛 o!🤐 😄ut, we ^ ?🤔🤪have al😷
🤕😷ready e? xp😝🙃_er😔😏🤗?😴ienced t🤪🤤he w\!a#😌rped m) 😌,echanics of
🤐 the situation 🥰@and😒$ w_;😂😌:e may focu😅😜😝😪s o😀?😏nce= again on th*e emotion😷🤣!😇al impac,.[😶t it !🙄has o]n Bergma😔n'😅s Irene.😆`🤐😌^ In La P🤗🤣😏.aura🤔(😍🤪😋 treasons🤐😝 ar#😂e n[🤥😀😝😜ot 😉i🤕:ma%😚😷gined*🙂 but🤔(@ r😬🤐e 😂al, night🤐mares are delibe_😃🤭rate and😄 the couple's venom🤮 +#😃🤭^s🤒\😑uppu*😙._🤒rates in%🤗 b😔:[🙄itt
😊🤒er )_wa😔😉y$?s.😉🙄😌 N😏eedless /😇😷%to sa 🙄y, Ingrid has🤫😆😙 a😌nother😆? o,😉 😒f her😛^ rough rides;🤕  🤔🤕😅in the movies but Ros😘🤑!sel😚🤫lini doe😆s😉🙂😙n't?😑 d🤩😌😷a ,re put her away as  he 😄 did😘 in!🤮 Europa 51,😪` nor does😊 he aban🙃 don^]😋/ h.`😷er to th😙\🤔:e🙃😅% in😍🤪!scruta🤪ble impassiv
🤨🤩ity of:🤩 nature (😬Strom🤒boli😪🤒😜). His gift is le😇😅ss transcendent and f\\_ragile th_😃an t🙃he c😬 🤔😗oncl*usion of ;🙃V😔😅iag*🤕😪gio🤥 in I😃*?😚tali😃a. He😂😀🙃😍 j:🤔🤮ust gi[🤗v😑/:🤨e)😏😅+s h😚i🙂🙄🙂s😌[😇😚 wife as much of )😇a fairy tale en🙂;🤢ding🤣😅🤑 as a real woman can ?😏ha😚😶%ve^=, a human lands^🤐🤗cape😃😶 wher😅😚🤢e she ca🤑
🤕🤢n f😌🤗inally 😌,fe\ el a`🙃😜t😍🙃🤤 home😆:😃
. Back to th🙃e count🙂`ry, a half lit🙂🤥😊😶 interior scene 🤮😐where shadows suggest th😃`😏e c😑🤔 o😷😀 m😄#😃f;😶[^😴ort o😶\f sleep. After/😇/= a😚 -ll, it😃😴🤕😛😆's😋!#🤑 the fai😅*_😬ry godmother]; who speaks_+ the la😒st words in the movi😌🤤e.