Extraordinary silent Russian cinema with all the best of the art. Yet what's most fascinating is the way it demonstrates the timeless/subversive potential of moral ambiguity. Plenty of people were outraged by this, though few for the same reasons. Similarly, it's as easy, in 2017, to find its empowering feminist message as it might've been then to see a woman enslaved by her petit-bourgeouis indulgence. (Etc.) Wild.
Amazing glance into the early Soviet Union, still a very progressive, changing society; an opportunity to experience the daily life, fashion, attitudes and challenges of these days. I was impressed by the cinematography and great performances. Unforgettable statement of the time that is long gone.
I loved the ending, the woman's choosing her own fate... The theme of liberated woman could be part of the socialist philosophy; yet the film still surprised me as a Soviet period film focusing on private life and sexual politics. Other than this, the cinematography was nice.
Soviet cinema was always keen to depict a progressive society, despite all odds. I always notice how their mise en scenes are focusing on capturing how industrially revolutionized everyday life in the Soviet Union was(trains, machines, urban life)but Bed and Sofa goes beyond that,presenting issues such as interpersonal relations, sex and female autonomy, topics that are unlikely to be found in 1920s American cinema.
While it starts off like the most clichéd ménage-à-trois-based comedy, it gradually develops the dramatic elements of the situation, reaching in the second part such a mature representation of the fickleness of feelings and of the ambiguity of human relationships. It also deals with themes that are still delicate today, and I guess were absolute taboo in those years. And what a modern female character! Brilliant.
Don't take her for granted, fellas. Can't be said w/ sufficient frequency or insistence. But often you will. And hopefully y'all get what you got comin'. What really distinguishes Bed and Sofa is its extremely odd (and not common!) combination of deadpan and burlesque. All three of these characters are kind of amusing monsters. It is actually the sociopolitical situation that is the real villain. Ah, the early days.
To my mind, the Russians gave us great works in cinema well before Europe, but they were never given proper credit they deserve. They were already casting lead female roles in bolder light than Europe or the US. 1927 was also the year Lang produced his cult film Metropolis, and still casting the lead female figure in an idealized religious light, the Russians were half a century ahead.
Soledad que remite a la búsqueda de afectos en personas ajenas a la relación de pareja que a su vez da pie a malos entendidos y aflicciones en aquellos terceros incapaces de satisfacer las necesidades básicas de superviviencia. Buena atmósfera con una excelente construcción de conflicto. (20160208)
Without the brilliance of Eisenstein and Pudovkin, a powerful but glacially-paced ménage-a-trois study, with lofty excursions across 1920s Moscow. A major and very moving work, depicting a time when personal lives were ‘modernised’ within the pressures of communal living. The imperative to live for the Soviet state rather than family life made for more ‘modern’ arrangements, as depicted in the final scenes.