REVIEWS I15 Leidermanand Lipovetskiiareto be congratulatedon producinga valuable resource, undoubtedly the most helpful teaching aid for the period yet available in this number of words. It is to be hoped that future editions will include a bibliography and an index extending to the writers' names and major subjects. Magdalen College, Oxford JENNIFER BAINES Graffy,Julian. BedandSofa.TheFilmCompanion. KINOfiles Film Companion, 5. I. B. Tauris, London and New York, 2001. X + I25 pp. Illustrations. Notes. FurtherReading. ?I 2.99 (paperback). ABRAM RooM'sslow-burningBedandSofa(I927) is a filmthat, on many levels, defiescategorization.The closestone can come to compartmentalizingit is to refer to it as a 'social problem' film, although as such it is well ahead of its time;more significantly,it boldlyrefusesthe fixityof the logical chain of causeeffect -remedythat characterizesthe genre its pleasureslie, if anywhere, in doubt and uncertainty. The story of a love triangle that finally rupturesas the heroine, Liudmila, leaves Moscow (and whatJudith Mayne has suggested is 'the real couple' of herhusbandKolia andhisold friendVolodia)forsome unspecifieddestination figured,if at all, ratherambivalentlyas motherhood, BedandSofamay be read in termsof eitherof two initialimages of dynamismthat imprintthemselvesin a delicate interaction acrossthe remainderof the film, and way beyond. The first, most immediate and most immediately recognizable, is that of a train. Speeding acrossthe Soviet countrysideand bearing the interloperVolodia on his journey to the capital, the opening image of the train condenses the archetypal figure of modernity, mechanization and progress, with a selfconfident knowledge of origins and destinationsas fixed spatialand temporal co-ordinates. The extent to which this motif is decentred in the course of the film until, by the end (and this time with Liudmilaas the passenger),it finally runsaway and leaves the spectatorstanding,has implicationsnot only for the Soviet state socialism it ostensibly embodies, but also for any critical project that may set itselfthe taskof 'explanation'pure and simple. Julian Graffy's contribution to the already impressive KINOfiles series from Tauris, however, is structuredmore thoughtfully around a homology with the second image that of the rippleswhich spread outwardsacross a puddle into which Volodia, upon his arrivalin Moscow, kicks a stone. This method, recently deployed to great effect in Graffy'smonograph on Gogol"s Shinel',involves maintaining a tight focus on individualdetails,whilst skilfully illuminatingboth the genealogy and the subsequentechoes and resonancesof each across Russian, Soviet and Western culture and society. To an extent, Graffyis only following the KINOfiles production/context/reception rubric, but one really senses that here he is truly in his element. The firstchapter's notes on the pre-history of cast and crew are nothing if not comprehensive, but do little to prepare the reader for the sheer wealth of scrupulously documented research contained in the ensuing painstakinganalyses of both the filmand its criticalhistory. i I6 SEER, 8 i, I, 2003 Insisting on the notion that context is everything is a particularlyfruitful approach when dealing with BedandSofa,since it interacts on an unusually large number of levels with the society and culture from which it emerged. What is particularlygratifyingabout this studyis its sensitivityto the fact that this society and culture was anything but fixed. Graffy draws on both the movie's and his own astonishinglybroad framesof culturalreference from the love triangle that haunts Chernyshevskii'sChtodelat'(pp. I7-I8) to the exploration of male homosocial desire as mediated through 'a shared enthusiasmfor sport'in Smith and England'srecent playAnEvening withGarg Lineker (p. 57) to unravel the diversity of inflections condensed in the various intertwining aspects and themes of the film: its cinematography;its portrayalof interpersonalrelationships;even its deployment of culturallyand sociologically over-determinedartefacts.The film and its companion booklet are thus located not as originatorysourcesof an easily identifiable'meaning', but as well informed and hugely informative contributions to a series of ongoing dialogues on a wide range of issues of topical (non-)debate, making their points without recourse to idealization, sentimentalism or, as Graffy indicates, the offering of 'pat solutions, either social or behavioural, for intractableproblems'(p. ii 7). Question marks still hang over Bed andSofa,a film that was specifically intended to provoke, ratherthan to end debate. If, after a lengthy period of submergence,thisgem from I927 isonce againmakingwaves, it issurelyin no small part due precisely to its refusalof the...
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