釋義： 1.不安定;不安寧。 2.不當，不穩妥。 3.不適，指有病。 4.客套話。表示歉意和感激。
《論語·陽貨》：“食旨不甘，聞樂不樂，居處不安。”《荀子·正論》：“以是百官也，令行於境內，國雖不安，不至於廢易遂亡。”《後漢書·周暉傳》：“ 暉 聞京師不安，來候忠 ， 董卓 聞而惡之，使兵劫殺其兄弟。” 唐 韓愈《孟東野失子》詩：“地祗為之悲，瑟縮久不安。”巴金《寒夜》六：“母親注意到他這種忍受性的沉默，感到不安了。”
《東觀漢記·馬皇后傳》：“後嘗有不安，時在 敬法殿 東廂，上令太夫人及兄弟得入見。” 唐 元結《與瀼溪鄰里》詩：“我嘗有不安，鄰里能相存。” 宋 王讜 《唐語林·棲逸》：“﹝和尚﹞常恐尊體有所不安，中夜思之，實懷憂戀。”
導演羅拔圖羅西里尼 (Roberto Rossellini)
國家/地區 義大利 / 原西德 / 原西德
英文簡介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 Kubricks last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothys reassuring childish motto "theres no place like home" is ironically updated to the adult circumstantialadage "theres no sex like marital sex". Kubricks 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. Bergmans 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 hewant us to feel something Bergman still cant. 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 Bergmans Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couples venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesnt 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, its the "fairy godmother" who speaks the last words in the movie.