Acclaimed 'lesbian film' Blue is the Warmest Colour is now released on DVD. I put lesbian film in quotes as I'm aware it can be a contested term, depending on whether a film is made by, for, with, or depicting lesbians, or whether we should use the label at all. Blue is the Warmest Colour is adapted from a graphic novel by a lesbian author, and is about a lesbian relationship, but the film is directed by a man and features straight actresses in the leading roles. This brings a lot of pre-judgement and divided opinion before you even sit down in front of the screen. And I can't deny that this influenced how I viewed the film, and subsequently read the book.
At it's heart, this is a love story, more than a coming out story, but there are elements of self-discovery, especially on the part of Adele, played beautifully raw and emotively by Adele Exarchopoulos. There are also sub-themes of art and snobbery, and ultimately how our view of the world affects who we are and who we expect others to be, sometimes at conflict with reality, and love. The chemistry between Adele and Emma (played by Lea Seydoux) is very powerful and all credit to the two actresses for giving themselves over to this performance, as the whole dynamic of the characters' relationship hinges on it. Yet, other elements of the relationship aren't articulated directly enough for me - there are a lot of pretentious philosophical conversations that skirt around the characters' inner selves but frustratingly hold us back from getting to really know them, and seeing how they know each other on different levels.
What really made this film hit the headlines when it was released (and I hope this wasn't the only reason it won the Palme d'Or Award) is the unflinching six minute sex scene. Yes, this is brave, both in terms of film making and especially for two straight actresses to give such an uninhibited performance. It is also necessary to portray the physical magnetism at the heart of the relationship between Emma and Adele. But when I saw it, I couldn't help but feel that it was a bit gratuitous. Not because I was watching it in a cinema with a disproportionate number of solo men in the audience, although this did arouse (no pun intended) suspicions that the film was living up to the (perhaps inevitable) stereotype of being seen as a bit of blue for the lads. But because it is such a long scene, at the expense of showing other aspects of the relationship and exploring the characters in more detail. To me, this, together with the very Hollywood grooming (pun intended) gives glimpses of the straight male direction. To be fair, perhaps I would've had less of an issue with this is if it had been directed by a lesbian, or if I hadn't read that director Abdellatif Kechiche had put the actresses through gruelling filming schedules for that scene, which they said pushed their comfort levels too far.
I discussed this with a lesbian friend who has a different take. She likes the fact that the film doesn't shy away from showing lesbian sex and that it shows a range of sexual expression. But for her, what is missing in the sex scenes is intimacy. If this was there, along with a little less philosophy and a little more directly personal conversation, then I do think that we would have a much more rounded sense of a complex, passionate, relationship, which would seem more authentic and perhaps would've made the film more about the relationship than a bid to break new ground or shock.
I read that the author, Julie Maroh, didn't want to align herself with the film version, saying that 'what is missing in the film is lesbians'. I take her point. But when I read the book, I did think some elements of the characters were replicated well in the film. It also had the same atmospheric effect for me, but maybe that is because I saw the film first and projected that visual sense onto the graphic novel. However, the ending is significantly different in the book, in that one of the main characters dies. For this, I prefer the film's ending, as, whilst it doesn't offer a neat or happy resolution, it does address the complexities and impact of a defining relationship. For me, killing one of them off perpetuates the way gay characters are often 'dealt with' in books, films and soaps: the sexuality is the storyline, and once it's run its course, there's nowhere for these characters to go. Now I know we don't want to have to replicate heterosexual relationship templates, but gay life isn't always an infernal struggle that ends in tragedy. It's just life! A range of genres and plots with gay characters would therefore be nice. Characters whose sexuality isn't their only defining feature and characters we can follow across a range of life situations and over time. But I guess true representation means that some plots have to end in tears.
We're always going to have divided option about any film, and these discussions are good for bringing lesbian films into the mainstream. At least a well acted and moving film about a lesbian relationship is better than a badly done coming out story, tale of unrequited love, or a straight girl's lesbian phase. So I'd give it a watch, but manage your expectations - that scene probably won't seem half as controversial on the small screen.