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Wh🤫😇🤗ene😍ver I see La😅🤑😂 Paur:😆a I think o😊😂😔f (it as a compa]😚😄nion piec/ e to Eyes🤪😙🤣😴 Wide Shu😃🤨🤗t, 🤣or maybe it😇 is the other way🙄😶 a(🤩😇round. Adultery]🤒 make:!s bot🤕%h fil😝🤢😴ms ti-!ck but🤩😑 in🤔😷🤕😝 di😏🤢🤩🙄f🤮😬😪😋ferent😝 😝🙃 w😏😏)ays. I think Ph=😶🤔😌il\😙lip(🤐 French was rig😙🤤😃😪ht \?😬on the mon🤒🙂🙃🤨+ey when 😄(he😛/ pointed ou🤐🙄 t[😛 a Wizard of Oz th😝😑,
/ing in Kubr🤤🤫:😔😜ic🤭:😚k's las🤕🤑🤢😋t😜😘# wor+(k. ?+Like Dorothy, Tom an_:*d Ni🤑😔😔🙃col😜;%😬😆e go t🙃🙄hrough f🤕🤮😙/🤫anta😝sie😒😗🤨?😔s *@🙃and nightmares😃 and at 🤑)the🤐? end D🙄orothy's rea😀ssuri😬😑🙄ng ch🤒🙄😐🤒il🙂😂
;😛dish(^`? 😛😇😔motto 🤭,🤔🤭$the-🤭re')🙃s no😏 place like home is i🤢]ro🤮🙂ni😶🤑%cally 😀updated to the adul🤕😑t cir]😷😆cum%😅(stantial 🤫=😐`adag🙂 e t😇here'./😴 s no sex like mar🤔😋ital se😌😉🙃x.🤤🤑 Kubrick.'s take i]🤔😔s intellectual, he ne.*😒ver l]🤢🤗eaves the wo😶🤕rld of ideas to 🙄#🤣touch the ground.🤐
?
 😶H😋😇😛e 😀taun=t 😐s 😙t-he audience f;\🤕😂😂i=🤥😃rst with an erotic mo😴🙄vie 🤐🤥and the😍😝😂😚@n with a t(🤣hriller and r[😆ef🤒😇🤑us^🤢😴😂e
 s t^😏🤔o de🙃:[liver either of them. #.🤕He was ]mar`_🤔r😌[^ied to his third wife 😝 😏for 🤩😷40 years, until he d😘?ied. Ros\😚s+*🤫😜ell 🙂ini🤕😙^ w-
🤮as still married to Ingrid Berg🤣😑man 😚😍when he d🙂.🤐😶ir`+e😶cted La Pa🤗ura; they had +🙂🤨🤨been😜🤔:😒 adulterous lo+🤩vers a+nd their😶😆😆 infidelit😶/y: 🤢😪 w😝🤒idely cr🙂🙂i😒 .ticized La 🤔`😶Pau😛\ra is a t😉 😁😛😏ale, a noirish one*. Th!+😙🤕
e🤪 no@@!+ir intrigue (🤮is solv😴😉ed and🙂😴% the tale😊 ha.#🥰s a happy en🤪🤕😙🤫ding. The city😊 😶😝is noir; the/🤑+🤪 co😏🙂untry i:😂\*s tale, t_*@he territ😍ory where childhood🤢😊🙃😄 🤭😶😝is possible. The +🤐transitio)_😂n 🤢/+is .\🙄o😆-p^#erated i😍😁😉!n 😁the\🤑 mo😒😄(st regular way by
😚😝ca@r, a [-?long-held shot taken from the fr,ont😴😴😒🙃 of the🤪🤕🤪 car😪😛 😷 as it😷 rides .]🥰i😅nto th🤮`!e  road, 😏!as if w😌😷😋😒e were 😬🤪)_🤕ente😝.😗😪rin.😒🤕g a d,😍ifferent dimension. Irene (Bergman) st😌%arts the🤐 m 😏😐ovie we j😋😗ust see a dark ci🤕😆ty landsc😶😘😁\a[😘😅pe but her v😍/🤨😗oi🤗😌c+😙e--😍over😑 narr😐ation 🤫$😆tel😃🙄ls]😄 us of her angst and informs😝[[- us that the 😪🤨😊sto 🤢😂ry😐+ is a fl🤢🤨😝🤔🤣ashbac😏 %k, hers😀. Berg😊😷🤩
man'😀?s🤕🤫 been 😑che.😑ating on her hu😃sban😒=^🤤🤪d. At fi(?🙃🤔😶rs?:😝t gu🤪😘😇ilt is😂😴🤔^ just psychol🤮+ogi🤪😬😪cal 🙃;😜torture b🤫.[ut soon e`🙄^😘😁xpands into econo?😷🤗mic black🤒-*
mail%) and t+🤫😜hen🙄🥰 grows into something else. Fro😝m be;🤤😬ginning to (🙂😪\end😀😄^ the 😗`🤐movie focuses on what Bergma^🤨😜n😊 feel.🤐+s,😇🤭🙃 every other charac😷😑ter 🤢😊is 😐there t-o make he😑🤫🤮@r feel😶🤑🤕😜 🤢😊#😏s\😛ometh; ?i🙄)$ng.😍🤢 Only 🙂😂^when the 🤐[dir
🤮e🙂🤪c 🙄😝😬tor gives away the plot !😀😂before th%-e main c😌😅(@haract😪😒er ca🙄n 🤥f🤤😜🤣#😀ind@/ o,$+:😪u,🙂🤔t 😇does .🥰he want us to[🤪: feel some😛🤔;\thing Berg:😑😇🤭🤫man still can😔't. W😝-)🤩hen she😴.* finds o😜🤗%😔;ut, w🤩🙄😴e have )😋🤫🤒already experien😴😁😌ced the warped mechanic]😐 😶s /😴🙂+of 😶)the si@tu! ati;😇on and we m🤔 😷$😆a.😂y focus o%😶)n😀😴😌ce again😚 on😍# the emotional;? i🤐😬mpact it has 🤥$?on Bergman's Irene. 😏😒!In La🙃 Pa😶ura t#🙂😌reasons😊=😙 a^re:-🤫 not imag*😍ined bu]/🙄t rea😴\🤒l,😉🤣😘😌 nig😬😪.$ht!😗mares are deliber😌
😛 ate and the c-ouple's venom sup🙂purates in bitte🤭r🤮,😴 ways. Nee😑😑😊🤮d😴les😆🤭s🤢 to say, In🤫%😛grid has 😒😆😌🤮!a😅nother@[; of🤪😅 😆😶h🤔];er rough]_;+ rides in the $movi🤕😗es but R🙃😴o😔😍😂\🙂sselli😶🙄 😊n😔#i -😁`doesn't dare🤗😅 put her aw😐😙🤔(ay😘@😝😬 🤕😃as 😛(🤕🤫🙃h 🤔e d$🤔id in Europa 51, @nor does he😋😔  abandon 😒😐her to 🤑😝the \😃inscruta😜🤭bl😄.😐e impassi😘 😊😔.vity of nature (Stromboli).🤗 😃=
🤔Hi🤥😅s gi🤭🤨ft is l😅ess 😝🤢transc(😜endent (?😝\😙and 😔fragile than th😪e conclusio😪😁\😂n of Via
`😬g#$gio😙🤮!😅 i🙂)😋n
🤨I)🤨/ talia😴🤮😬. He just gives _/😔🤕🤩hi@😷🤪s 😛` wif😏😪e?
:😀 as😛🤐`*🥰 much%# of +a fai😐🤫ry tale ending a😘s a😝😆 real woman🤔 can have, a🙃🤩 h🤨_u🤤*😏🤮m;😁😜 🤕an😏🤢😇 la😃ndscape wher😍🤐😌🙂e she 😅🥰;ca🤢😶n finally feel at h[😉 ome. B😊ack to the countr😄🥰y, a hal🤕😅🥰f😛] 😛lit i😪n🥰)🤕terio_😏r s^c😪\😐🤨en😆e 🤫😔wh\`ere shadow😷^_s 😄[s=😔=😒😄uggest 😜🥰😆,t😗🤪🤔he comfo😪`🤗rt].😘😝 of sleep. 😬😒@Af😗🤐🤔😆ter all, it's the fairy godmother wh😁😐😴😘o speaks the la😌😍🤑🤢st w😐[ords in the mo`😴vie.