*Editor’s Note: Excerpts of this review could be perceived as expressions of personal views on matters of current public debate and consideration. The views and opinions expressed herein are those of the author and do not necessarily reflect the official policy or position of Irish Film Critic.
In 1988, a closeted teacher is pushed to the brink when a new student threatens to expose her sexuality.
“Blue Jean” is the latest in a category of films that take dead aim at Margaret Thatcher and her harmful policies, also referred to as Thatcherism. Thatcher’s disdain for the working class, the poor, the Irish, and the marginalized has been well documented and felt through her anti-labor/pro-austerity Neoliberalism. Although Thatcherism continues to atomize and hurt millions living under the Union Jack flag, these policies have inspired some of the greatest artists to create thoughtful films in response. Artists like the prolific director Ken Loach, who in his movies covers various individuals’ struggles against crumbling or corrupt institutions in the UK. Movies like “I, Daniel Blake” or “Sorry We Missed You” are documentaries with their hard-hitting realism and sympathetic characters. Writer/Director Georgia Oakley channels some of Loach’s socio-political outrage into “Blue Jean.”
In Newcastle in North East England in 1988, Jean (Rosy McEwen) is a Physical Education teacher for a secondary school (American equivalent of high school). She keeps to herself at work due to the news of the controversial article 28 (wherein Thatcher attempted to dictate what local councils could and could not do concerning Gay rights). Aside from her out-and-proud partner Viv (Kerrie Hayes), Jean is surrounded by bigoted co-workers and students. Being in the closet, Jean’s carefully curated life is upended when new student Lois (Lucy Halliday) begins getting too close, leading to fears of being outed to her colleagues and students, which cost Jean her job. Her fellow students bully Lois for being gay, and Jean struggles to be an ally. At first, Jean is dismissive of her girlfriend’s statement about “how everything is political,” but as her material conditions worsen and the intolerance spreads around her work and life, Jean’s closeted life needs to change.
Oakley and Cinematographer Victor Seguin frame the picture to show us the repression and dreariness of Northern England in 1988. The resulting cinematography is depressingly gorgeous. Fittingly, blue is a recurring color with consistent, top-notch lighting. And the sumptuous score by Chris Roe is rightfully moody, as is the soundtrack full of glistening ’80s Synth Pop and thumping House tracks.
Rosy McEwen is splendid as Jean. She will most likely have a breakthrough role down the road. With a lived-in performance, McEwen displays a variety of internalized emotions. The shame and fear brought on by the intolerant society are palpable on her face, but the consistent holding back for the film’s duration is frustrating. An audience does not need overacting or hammy performances, but sometimes I wanted to shout at Jean, “Just say something! Tell them to fuck off!”
While I wanted more drama or things to happen, I could not help but notice the political parallels of today. “Blue Jean’s” political and cultural landscape sadly parallels today’s repressive culture wars. Like Florida’s policy to ban any book with critical race theory or pro-LGBTQA content. During Thatcher’s reign, her administration singled out books that, in her own words, “would cause a surge in homosexuality.” “Blue Jean” squanders its opportunity to attack Thatcherism head-on and instead lets the political malaise drift in and out of scenes. Ken Loach is much more adept at materializing his political outrage, so I hoped Oakley would get more vocal throughout her script. Because while this universal repression is relevant for films to attack and deconstruct, it must be entertaining!
Magnolia Pictures will release “Blue Jean” in Theaters Friday, June 9th, in New York
and June 16th in Los Angeles and additional cities
