What is it about sex and libraries?
Serial controversialist Professor Mary Beard would have us believe that sex in libraries is an almost everyday occurrence. I recently attended a conference at which both keynote speakers hinted at sexual activity in their libraries. Being librarians, they were too polite to say the S word - the first referred to 'hanky-panky,' the second 'nocturnal activities on library beanbags.' Searching for the collocation on Google is not something I would advise - the extent of human perversions disturbs even the liberal mind.
Atonement tops Entertainment Weekly's list of 18 Wild Trips to the Library. The piece begins: 'A sex scene in a library that is scorching hot? It seems so wrong - and it is - but it's also amazing.' The bad writing warns us of the journalistic poverty to follow, for among the other 17 'wild' films are the racy Lorenzo's Oil, A Beautiful Mind and Disney's Beauty and the Beast. The list neglects the only other film I am aware of to feature a library sex scene - Kevin Bacon's Loverboy. Sex is just a hook for a badly written feature about libraries and movies.
|Sex and death - the bodies in the library|
Like some zany version of Cluedo, a transgressive act, by a sexy girl, in a gentleman's library, seems to have occured in Agatha Christie's 1942 novel The Body in the Library too (filmed in two televisual adaptations, in 1984 and 2004). A blonde is found in Colonel Bantry's library. The villagers of St Mary Mead gossip about the girl's state of undress, and what it might mean. But Christie was a postmodernist ahead of her time. Like Knightley, the girl is actually wearing a satin evening gown. She died, the prurient village doctor tells us, virgo intacta. She's not even blonde and in the end, she's not who we think she is. Christie gently mocks village attitudes (the villagers would have tutted at, and delighted in, Atonement), the absurdities of class, and her own use of the private libraries of murderers great and good. Her foreword reveals that the novel is a conscious parody of the detective genre.
It's interesting to compare and contrast the confluence of the upper classes, libraries and transgression (not only the sexual kind) in Atonement and Christie's novels (and their 30+ film and 80+ television adaptations). Atonement handles this transgression awkwardly. The library scene is successful in conveying a mood rather than advancing the plot. It is remarkable for its artificiality in an otherwise naturalistic film (the naturalism of the set piece on the Dunkirk seafront is a tour de force). For a film in which two lovers are kept apart (partly) by class, it doesn't use the library in the interesting ways that the space invites. Robbie, defying the role he was born into, has just returned from Cambridge, but this is hardly alluded to.
As the film ends, the viewer curses Briony and the Germans for keeping the two lovers apart. Its opening scenes have been praised for evoking a pastel-coloured vision of Edwardian England, a place that exists only in storybooks. It glosses over the social history Christie had lived through. And for that is is a much lesser film.
Director: Joe Wright
Written by Christopher Hampton, based on the novel by Ian McEwan
Cinematography: Seamus McGarvey
Editing: Paul Tothill
Original music: Dario Marianelli
Cast includes James McAvoy, Keira Knightley, Saoirse Ronan, Romola Garai, Vanessa Redgrave, Juno Temple, Benedict Cumberbatch