A personal and captivating account of the extraordinary life and work of Ingrid Bergman (1915-82), a young Swedish woman who became one of the most celebrated actresses in world cinema.

Russian exiles in Paris plot to collect ten million pounds from the Bank of England by grooming a destitute, suicidal girl to pose as heir to the Russian throne. While Bounin is coaching her, he comes to believe that she is really Anastasia. In the end, the Empress must decide her claim.

Between Paula and his half old Xu man Roger, should be said that there is no true love, even if Paula wants to be her true feelings in this living, also at Roger from time to time with the woman's deception and concealment repeatedly before hitting the wall. Paula than the young teenager Philip entered the heroine lonely soul, to classical pattern of a kind of "Brahms", to Paula with sympathy and consideration, care, cherish, but classical love after all, there is no perfect knot, she finally Philip did not accept this precious feelings, but somehow back to the foot of multi ship Roger.
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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.

After the end of WWII, a young Lithuanian woman and a young Italian man from Stromboli impulsively marry, but married life on the island is more demanding than she can accept.

A dentist pretends to be married to avoid commitment, but when he falls for his girlfriend and proposes, he must recruit his lovelorn nurse to pose as his wife.

1944 film by George Cukor

1946 film by Alfred Hitchcock

1952 film directed by Roberto Rossellini

1989 film by Rob Reiner

1974 film by Sidney Lumet

1972 film directed by Ingmar Bergman

1954 film by Roberto Rossellini

When Dr. Anthony Edwardes arrives at a Vermont mental hospital to replace the outgoing hospital director, Dr. Constance Peterson, a psychoanalyst, discovers Edwardes is actually an impostor. The man confesses that the real Dr. Edwardes is dead and fears he may have killed him, but cannot recall anything. Dr. Peterson, however is convinced his impostor is innocent of the man's murder, and joins him on a quest to unravel his amnesia through psychoanalysis.

1978 film by Ingmar Bergman

In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.