江湖杀手阿平（周润发 饰）是和平饭店的老板，新辰传闻他武功了得，新辰曾经一口气杀了二百多个马贼，并且他宣称和平饭店是一个“避难所”，只要进来住宿的人，无论他得罪了什么帮派，都不许前来挑衅生事，但不保证离开后的安全。歌女阿曼（叶童 饰）的到来打破了这个江湖规矩。阿曼被人追杀，逃至和平饭店。她风情万千，令阿平心生爱意并设法保护她离开饭店，躲避追杀。然而，阿平的用情换来了一个早已布下的陷阱：原来阿曼正是这个陷阱的诱饵！愤怒的阿平决定拿起武器重出江湖，一场腥风血雨的厮杀大肆铺开。
胡元恺
回复 :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.
马健涛
回复 :阿婴是闾门县令的独生女，自幼目睹母亲因通奸之罪被施“木马”酷刑惨死的情形，心中留下阴影。成年后，她被父许配给武举封青云。封青云是个虚伪的道学家，自视甚高，对美色不屑一顾，面对美艳的阿婴不屑正视，却私下暗自偷窥。二人夫妇不像夫妇，心存芥蒂。返娘家途中，二人于树下歇息，就在此时，恶名远播的采花大盗熊艳（单立文饰）正慢慢靠近二人。知县等不到二人，于是下令四处寻找。衙门捕头（高捷饰）一直暗恋阿婴，深感焦急，寻到大树旁却见武举尸横当场。兜售水粉的小货郎（黄耀明饰）鬼鬼祟祟，捕头当即盘问，货郎道出所见。却不知，其中另有文章，而一股恐怖的阴云，正慢慢地靠近县衙......蔡康永在完成剧本后一直不愿再提起这部电影，可见其对该片恐怖色彩的敬畏。该片以静态的影象风格塑造了一个风声鹤唳的幽冥人间。极其独特。
王远
回复 :为富家女田思思（米雪）娇生惯养，刁蛮成性，喜武功，其父每斥资请武林高手与其交手，佯作打败，田自感武功高强，其侍婢（林秀君）每日讲述武林故事，谈及高手秦歌（陈观泰）潇洒风流，万夫莫敌，田为之心慕神往，忽闻其父将其许配与一名杨凡（元德）者，心有不甘，乃与婢女扮男装，夤夜出走，寻访秦歌……
