[go: up one dir, main page]

    Calendario de lanzamientosLas 250 mejores películasPelículas más popularesExplorar películas por géneroTaquilla superiorHorarios y ticketsNoticias sobre películasNoticias destacadas sobre películas de la India
    Qué hay en la TV y en streamingLas 250 mejores seriesProgramas de televisión más popularesExplorar series por géneroNoticias de TV
    ¿Qué verÚltimos tráileresOriginales de IMDbSelecciones de IMDbDestacado de IMDbGuía de entretenimiento familiarPodcasts de IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthPremios STARmeterCentral de premiosCentral de festivalesTodos los eventos
    Personas nacidas hoyCelebridades más popularesNoticias de famosos
    Centro de ayudaZona de colaboradoresEncuestas
Para profesionales de la industria
  • Idioma
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista de seguimiento
Iniciar sesión
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usar la aplicación
  • Reparto y equipo
  • Reseñas de usuarios
  • Curiosidades
  • Preguntas frecuentes
IMDbPro

Ya no creo en el amor

Título original: Non credo più all'amore (La paura)
  • 1954
  • 1h 15min
PUNTUACIÓN EN IMDb
6,7/10
2 mil
TU PUNTUACIÓN
Ya no creo en el amor (1954)
Drama

Irene Wagner, la esposa del destacado científico Albert Wagner, se ve chantajeada por su aventura por la celosa exnovia de su amante. La trama, un experimento para causar miedo, la enfurece.Irene Wagner, la esposa del destacado científico Albert Wagner, se ve chantajeada por su aventura por la celosa exnovia de su amante. La trama, un experimento para causar miedo, la enfurece.Irene Wagner, la esposa del destacado científico Albert Wagner, se ve chantajeada por su aventura por la celosa exnovia de su amante. La trama, un experimento para causar miedo, la enfurece.

  • Dirección
    • Roberto Rossellini
  • Guión
    • Stefan Zweig
    • Sergio Amidei
    • Roberto Rossellini
  • Reparto principal
    • Ingrid Bergman
    • Mathias Wieman
    • Renate Mannhardt
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    6,7/10
    2 mil
    TU PUNTUACIÓN
    • Dirección
      • Roberto Rossellini
    • Guión
      • Stefan Zweig
      • Sergio Amidei
      • Roberto Rossellini
    • Reparto principal
      • Ingrid Bergman
      • Mathias Wieman
      • Renate Mannhardt
    • 16Reseñas de usuarios
    • 11Reseñas de críticos
  • Ver la información de la producción en IMDbPro
  • Ver la información de la producción en IMDbPro
    • Premios
      • 2 nominaciones en total

    Imágenes75

    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    + 69
    Ver cartel

    Reparto principal15

    Editar
    Ingrid Bergman
    Ingrid Bergman
    • Irene Wagner
    Mathias Wieman
    Mathias Wieman
    • Professor Albert Wagner
    Renate Mannhardt
    Renate Mannhardt
    • Luisa Vidor aka Johanna Schultze
    Kurt Kreuger
    Kurt Kreuger
    • Erich Baumann
    Elise Aulinger
    • Martha - Wagners' Housekeeper
    Edith Schultze-Westrum
    Edith Schultze-Westrum
    • Wagners' Babysitter
    Steffi Stroux
    • Luisa Vidor's Friend
    • (as Steffie Struck)
    Annelore Wied
    Rolf Deininger
      Albert Herz
        Klaus Kinski
        Klaus Kinski
        • Cabaret Performer
        • (sin acreditar)
        Klara Kraft
          Jürgen Micksch
          • Bobby - Wagners' Son
          • (sin acreditar)
          Gabriele Seitz
          Gabriele Seitz
          • Freda - Wagners' Daughter
          • (sin acreditar)
          Elisabeth Wischert
          • Mary
          • (sin acreditar)
          • Dirección
            • Roberto Rossellini
          • Guión
            • Stefan Zweig
            • Sergio Amidei
            • Roberto Rossellini
          • Todo el reparto y equipo
          • Producción, taquilla y más en IMDbPro

          Reseñas de usuarios16

          6,72K
          1
          2
          3
          4
          5
          6
          7
          8
          9
          10

          Reseñas destacadas

          6CinemaSerf

          The Fear

          Ingrid Bergman is "Irene" married to "Albert" (Mathias Wieman) but has been having an affair with the much younger "Erich" (Kurt Kreuger). The relentlessness of the secret-keeping takes it's toll and "Irene" tries to end it all. Her secret is not quite as safe as she had thought, though - and she soon discovers that opportunist "Johanna" (Renate Mannhardt) knows the score and wants 3,000 Marks to keep silent. Will that do the trick, or is that just the start of an even more slippery slope? This is short and sweet - reasonably paced, with decent characterisations from Bergman and her grasping nemesis Mannhardt, but the story itself it overly simple and lacks any sense of jeopardy. We always know what is going to happen - and although Roberto Rossellini does try to inject the merest hint of menace, Bergman is all just too "nice" to be convincing. She has the bad temper of a field mouse.
          10klauskind

          Tales of fear and marriage

          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.
          7Hitchcoc

          Bergman in the Time of Scandal

          A simple story about a simple thing, blackmail. Ingrid Bergman and her husband work in a facility that is trying to work on medical issues, such as the destruction of heart tissue. Bergman, much younger than her husband, has a fling with a playboy type. In the process, an evil woman blackmails her and with each payoff, the amount increases. The film is full of tension as Bergman rushes to get more to this woman. Finally, a ring that means a great deal to the husband is taken. She has to get it back. The events that follow are rather hard to swallow and seem, for me, to diminish the story. Bergman does a slow burn when she gets to that "I've had enough" stage. Things become way too contrived. After seeing the ending, say to yourself, "Is this a real conclusion, even in a 1954 film drama. Bergman, as always, does a really nice job.
          6ignorantbliss-30802

          Bergman's talent was wasted

          This is the last film that Bergman and Rossellini did together. Their marriage was on the rocks and perhaps this was like a throwaway movie because that's what I feel after watching this. The plot does no have subplot, depth or whatever. It's clear cut plot about a woman being blackmailed by the lover's wife, and she is being paranoid about it trying to hide it from her husband. And little did she know that...(I won't spoil it for you). But there is all about. Bergman was great as usual but that's the only good thing. I felt like the director falling asleep all the while directing this. And the ending was a bit rushed. I only recommend this for Bergman fans only (I know there are lots and lots of them out there) who wants to experience this whole Bergmania.
          6mossgrymk

          fear '54

          Starts out pretty well with an intelligent and interesting examination of a woman in the throes of infidelity guilt who is being pestered by a blackmailer. But then Rossellini decides to go all Claude Chabrol on us and the plot starts twisting as credibility and its constant companion, interest, go flying out the window.

          Is it just me or does Rossellini tend to do this in his films? Did you notice how "Rome, Open City" switched from gritty neo realism to Nazi porn about halfway through? And "Europa 51",in the last third, goes from being a study of a mother's lost soul after the death of her son to a womans prison pic. Really wish this good director wouldn't do this, especially as the directions he veers toward are much less compelling than the ones left behind.

          Give this one a C plus.

          Más del estilo

          Te querré siempre
          7,3
          Te querré siempre
          Stromboli
          7,2
          Stromboli
          Europa '51
          7,4
          Europa '51
          Ingrid Bergman: Retrato de familia
          7,4
          Ingrid Bergman: Retrato de familia
          Juana de Arco
          5,8
          Juana de Arco
          India
          7,2
          India
          La visita del rencor
          7,4
          La visita del rencor
          La máquina matamalvados
          6,7
          La máquina matamalvados
          El amor
          6,9
          El amor
          La voz humana
          7,0
          La voz humana
          Nosotras las mujeres
          6,5
          Nosotras las mujeres
          Alemania, año cero
          7,8
          Alemania, año cero

          Argumento

          Editar

          ¿Sabías que...?

          Editar
          • Curiosidades
            The last film Roberto Rossellini and Ingrid Bergman made together before their divorce in 1957.
          • Citas

            Luisa Vidor, alias Johann Schultze: If only the director of Bongo Bar could see me now! He has no faith in my artistic talent. He thinks I should just play bit parts. But I have a lot of potential. I know I have talent.

          • Conexiones
            Featured in Ingrid (1984)

          Selecciones populares

          Inicia sesión para calificar y añadir a tu lista para recibir recomendaciones personalizadas
          Iniciar sesión

          Preguntas frecuentes

          • How long is Fear?
            Con tecnología de Alexa

          Detalles

          Editar
          • Fecha de lanzamiento
            • 5 de noviembre de 1954 (Alemania Occidental)
          • Países de origen
            • Italia
            • Alemania Occidental
          • Idioma
            • Alemán
          • Títulos en diferentes países
            • La por
          • Localizaciones del rodaje
            • Múnich, Baviera, Alemania
          • Empresas productoras
            • Aniene Film
            • Ariston Film GmbH
          • Ver más compañías en los créditos en IMDbPro

          Especificaciones técnicas

          Editar
          • Duración
            1 hora 15 minutos
          • Color
            • Black and White
          • Mezcla de sonido
            • Mono
          • Relación de aspecto
            • 1.37 : 1

          Contribuir a esta página

          Sugerir un cambio o añadir el contenido que falta
          Ya no creo en el amor (1954)
          Principal laguna de datos
          What is the Mexican Spanish language plot outline for Ya no creo en el amor (1954)?
          Responde
          • Más datos por cubrir
          • Más información acerca de cómo contribuir
          Editar página

          Más por descubrir

          Visto recientemente

          Habilita las cookies del navegador para usar esta función. Más información.
          Obtener la aplicación IMDb
          Inicia sesión para tener más accesoInicia sesión para tener más acceso
          Sigue a IMDb en las redes sociales
          Obtener la aplicación IMDb
          Para Android e iOS
          Obtener la aplicación IMDb
          • Ayuda
          • Índice del sitio
          • IMDbPro
          • Box Office Mojo
          • Licencia de datos de IMDb
          • Sala de prensa
          • Anuncios
          • Empleos
          • Condiciones de uso
          • Política de privacidad
          • Your Ads Privacy Choices
          IMDb, una empresa de Amazon

          © 1990-2025 by IMDb.com, Inc.