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.
绝大多数人都为了生活在奔波，找不到生命的意义，微薄的工资累死累活的，同事之间的勾心斗角真的身心俱疲，所以才会这么羡慕他们轻松氛围的生活吧
难看得要命、假得不行，人物类型化、藏区想象化，除了几首藏歌好听，真没啥可圈点的。
师生情谊刻画的太好了，孩子们都是出息的好孩子，老师能这样奉献一生，是值得的。
片段式的记录，不能说情节和拍摄多好，可能就是那种纯纯的感情让人看着有点动容吧。
男女主日常刻画少有点可惜，挺想看他们一起的奋斗日常和生活琐碎的
通过这部片子，了解到了藏区的风土人情，也了解到了藏区的教育问题。挺真实的，值得一看。
总觉得这个男主角有点眼熟，剧情还是很不错的，不过感觉男主角的演技有待提升啊
本以为是文艺片，结果不仅仅是文艺，还有那种神奇的剧情？果然是惊喜不断
梅朵不仅长得漂亮，而且唱歌还那么好听，我要被她圈粉了。
韩老师母亲说：心在哪儿，爱在哪儿，家就在哪儿真的一下泪目！强烈推荐大家看！
借着藏区的标签，却有很多藏区的经典没表现出来
没有特别华丽的场景，也没有特别出名的演员，我们在这部电影里面看到的完全是质朴的老师和学生们，真的很感动
《藏草青青》拍出了藏区的真挚。对于韩松与梅朵的爱情表现也描绘很好。他们既是爱人也是实现理想道路上的同路人。影片故事延展性很好，叙事结构清晰，两条线让观众看到另一种人生轨迹。
特效算是劣势吧，这种类型的电影基本没有看到过特别满意的特效，总之还是演技取胜了
场景很美，故事很贴合实际，细节不行，但是风格挺鲜明的，
对感情刻画很细腻又不做作，好几个地方都看哭了，演员们的演技也都不错！
里面女主唱歌还挺好听的，只可惜从头到尾只有那么一首，如果多换两首可能会更好
到“回来了，还走么？”就结束多好，大可不必这么悲剧。
电影比较正，套路比较经典，没什么惊喜，不过演员演的不错，起码能让我相信他们是那个角色。
“老师，我们送你回家！”看到这里泪流满面。一群淳朴善良的孩子不舍的同时用行动表达对支教老师的爱。在藏区里生活条件艰苦的孩子们，他们对知识与新鲜事物的渴望，他们眼里的纯真，还有美丽的女人梅朵，他们的需要使老师不舍离去。最后老师母亲离世前的那两句话更使人震撼，无私的母亲，大爱的情怀，她懂她的儿子，她的这两句话让韩松更加坚定了自己的内心！结局也很真实，人生本就是起起落落相聚别离。这部剧应该打9分，还有一分是因为拍的太短了！不够看。
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