|
| runtime = 75 minutes〔 | country = USSR | language = Silent | budget = }} ''Bed and Sofa'' ((ロシア語:Третья Мещанская)) is the English name of a 1927 Soviet silent film originally released in the Soviet Union as ''Tretya meshchanskaya'', and is sometimes referred to as ''The Third Meschanskaya''. In addition to the title, ''Bed and Sofa'' it was also released outside of the Soviet Union under the alternate titles of ''Three in a Cellar'', ''Old Dovecots'', and ''Cellars of Moscow''.〔(【引用サイトリンク】title=Tretia Meshchanskaia )〕 The film gets its Russian title from the street on which the main characters live, Third Meshchanskaia Street.〔 Directed by Abram Room and written by Room and Viktor Shklovsky,〔(【引用サイトリンク】title=Tretya meshchanskaya )〕 the film starred Nikolai Batalov as the husband, Kolia, Lyudmila Semyonova as the wife, Liuda, and Vladimir Fogel as the friend, Volodia. Billed as a satire and comedy, ''Bed and Sofa'' nonetheless portrayed the realities of the Moscow working poor, while also dealing with starkly sexual situations such as polygamy and abortion.〔 It was originally banned in both the United States and Europe due to those stark sexual situations.〔 While movies made in the USSR would soon be regulated to the ideals of Soviet realism, some films at this time were able to present starker themes. Even so, ''Bed and Sofa'' was controversial at the time of release in the Soviet Union, due to its focus on human relationships, while the state and the party are almost completely disregarded. In fact, at one point Kolya even declines to go to a Party meeting. In addition, the film's resolution is ambiguous and comes about without any input from the collective. However, it is now considered a landmark film because of humor, naturalism, and its sympathetic portrayal of the woman.〔 ==Plot== The story centers on the relationship of the three main characters. Liuda and her husband, Kolia, live in a one-room basement apartment on Third Meschchanskaya Street, a petty-bourgeois neighborhood in Moscow. She is bored and resentful with the constant succession of household duties and the cramped living conditions in which she must cook and attempt to organize her clothes, even though there is no place to put them. She spends her days idly, mostly by reading magazines, notably the popular (at that time) Soviet film fan magazine ''Soviet Screen'' (''Sovetskii ekran''). Kolia works as a stonemason and is charming and good-natured, but also dictatorial and egocentric. When Kolia’s old friend, Volodia, arrives in Moscow, he cannot find a place to live in the overcrowded city, due to a severe housing shortage which was still a major social problem ten years after the revolution. Kolia invites him to stay at their apartment, to sleep on the sofa. The apartment, which was cramped to begin with, is all of a sudden much smaller, which understandably annoys Liuda, but she puts it off as just another sign of Kolia’s disregard for her. Yet Volodia quickly wins her over by his helpful behavior, as well as bestowing her with gifts. There is a sexual tension between the two from his arrival, and when Kolia has to leave town for a job, Volodia takes advantage of his friend’s absence by openly seducing Liuda. A climax of this seduction comes when Volodia takes Liuda on a plane ride over Moscow. It is the first time she has left the apartment since the beginning of the film. When Kolia returns from his trip, he finds himself to be the one relegated to sleeping on the couch. Initially outraged, he calms down and the three settle into a polygamous, domesticated routine. However, now that Volodia taken over the role of "husband," he unfortunately begins acting like one, not at all as he had been when he was the outsider. In fact, he is even less sensitive and more dictatorial than Kolia. Meanwhile, the two men are bonding, joking and playing checkers while Liuda pouts. She begins sleeping with both men (at different times). Eventually, the inevitable happens, and she becomes pregnant, and since no one knows who the father is, both men insist she have an abortion. The climax of the film comes when she is sent off to a private “clinic” to have the abortion. She waits for her turn with a prostitute and a young girl. As she waits, she is looking out the clinic’s window, where she sees a baby in a carriage on the sidewalk below. Suddenly, Liuda decides to take control of her own life, to have the baby and also to leave the corruption of Moscow. In the closing scene in the film, Liuda is seen on a train, leaving town. She is smiling, leaning out the train’s window. This is cross cut with shots of Kolia and Volodia, her two erstwhile “husbands”, at first being annoyed with her departure, but then being relieved that they can now return to their carefree bachelor lives in their dingy basement apartment on Third Meshchanskaya Street. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bed and Sofa」の詳細全文を読む スポンサード リンク
|