In this debut from Georgia Oakley, we are plunged into the decade of Gremlins, punk rock, and Margaret Thatcher. Blue Jean sees the denim-clad titular character navigate life as a gay teacher against the backdrop of Section 28.
★★★★✰
Between the plummy accents on the radio and smoking in nightclubs, you would be forgiven for thinking this exploration of Section 28 was filmed and released in the dark and distant 1980s. The evil ruling was enacted in May 1988 and was brought in to “prohibit the promotion of homosexuality by local authorities”. This meant that sectors such as social care and schools could not acknowledge the existence of LGBT+ staff and students. Set in Newcastle, Blue Jean explores the impact of the draconian rule on one Northern teacher.
Striking in appearance but timid in manner, Jean (Rosy McEwen) is described by her partner Viv (Kerrie Hayes) as a “deer in the headlights”. As we view her hesitating to break up fights and maintain boundaries, we quickly learn that this metaphor is well-suited. Viv does not understand Jean’s reluctance to acknowledge her identity, hiding her sexuality at work and trying to buy into straight culture at home by watching Blind Date. Hosted by Cilla Black, the staunchly heterosexual gameshow dominated our television screens for almost two decades.
The film sensitively touches on engrained stereotypes of how boys and girls should behave. The idea of girls playing football is met with some resistance in the school PE department, and even Jean’s five-year-old nephew is not exempt from the hetero norm; his dad orders him to eat meat and play outside. This little boy, too young to understand the concepts of government and state laws, is already impacted by Section 28.
Finding the balance between friend and teacher, Jean is challenged by sassy teenagers in her PE class and struggles to be the role model that new student Lois (Lucy Halliday) so desperately craves. When Lois is threatened with a suspension after an altercation with peer Siobhan (Lydia Page), Jean faces the dilemma of what is morally right and what is best for an easy life.
Through few words, McEwen manages to say so much. With a steely expression, our protagonist appears conflicted between keeping her comfortable teacher job and supporting her young and impressionable pupils in a time of immense societal pressure. It is clear that Jean feels sole responsibility for assuming the advocate role for Lois.
Director Georgia Oakley masterfully depicts the 1980s, using a cool blue colour palette and grainy 18mm film. Blue Jean’s pacing and character development is not unlike a soap opera, reminiscent of Northern classics Coronation Street and Brookside. The latter, of course, was the broadcaster of the first pre-watershed television lesbian kiss. Blue Jean could have borrowed more from its soap counterparts and included more scenes of drama and conflict; it is the 1980s, the era of protests and the birth of gay rights, key moments that feel omitted in this film.
That said, Oakley’s debut is undoubtedly impressive in portraying the Jeans of the world: mild-mannered, apolitical women simply wanting to live their life without condemnation from the British Government. Jean exudes an icy exterior, with effortless fashion style and a cool, short haircut. However, she is more layered than she would like people to see. At work she eats lunch alone, and she can only fall asleep with a meditation cassette tape. These scenes add welcome dimension to the quiet lead.
Jean’s reserved nature is understandable in the context of the time. Such was the power of Section 28 that queer people feared for their relationships, their livelihood, their lives. The carrying around of this burden is heartbreakingly acted by McEwen, as Jean is resolute to keep her professional and personal life separate.
In this engaging, educational film, Oakley has managed to toe the line between producing a picture that is realistic but not depressing. Despite the cloudy skies and the billboard condemning anyone who isn’t heterosexual, there is hope among the characters. They may face setbacks, but they continue in the face of adversity. The dialogue is strong but convincing, with Jean’s fear of being judged combatted by Viv unapologetically wearing her heart—and sexuality—on her sleeve. Section 28 was only revoked in 2003, and Blue Jean will serve as a reminder of that cruel anti-LGBT+ law for years to come.
The Verdict
Blue Jean is a slow-burning film but the plot development is pleasing as our complex main character learns to be true to herself. As the greyscale of the school gym is slowly replaced with the vivid colour of clubs and parties, Jean—and the future—doesn’t seem quite so blue.
Words by Tayler Finnegan
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