《伊藤润二惊选集双一》：

"稍后

尖锐的石块在寇维斯身上扎出无数的洞。在他意识到的时候，自己已经重重地跌落在地面上......如果那个坑坑洼洼的地面还算是一个＇面＇的话。伊藤润二惊选集双一“小八，收手！”

【内容介绍】：　　历史学家丹·斯诺穿上登山靴，带我们重走英国的大好河山，在如画的风景中挖掘诺曼祖先给我们留下的历史遗迹。从他们野蛮狂暴地登上英国海岸，到那些保存了千年的建筑遗迹...丹·斯诺会带领我们重温诺曼人的征服历程：登岸，侵略，征服，统治，殖民...　　我们的探索从苏克塞斯郡的海岸线开始，征服者威廉与诺曼军队就是在这里首次踏上了英国的国土，为后来的黑斯廷斯战役做准备...威廉这次大举进犯的结果已是妇孺皆知，然而，在那场战争之前又发生了什么呢？　　威尔士崎岖的地貌和当地彪悍的部落首领使得威尔士成为一片未开化的处女地...丹·斯诺将带领我们在曼诺河谷观赏那些诺曼时代拔地而起，鳞次栉比的城寨城堡。它们是男爵在国家开疆扩土行动中的手工产物，在这场行动中，诺曼人把自己的影响拓展到了威尔士和爱尔兰...　　《诺曼行走》的最后一站来到约克郡，在诺曼人入侵四年之后，这里被残酷的大肆破坏，夷为平地，寸草不生...这种大规模的种族灭绝政策是诺曼人巩固英国统治的最后一步！我们这次将会揭秘，这里如何成为了诺曼人最大遗产的背景地...　　From 夏末秋字幕组

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.