蓝色珍妮

《蓝色珍妮》其实讲述了一个很普适的故事，被社会认定的边缘人士是否要为自己的身份政治战斗？

在电影的语境下，这个具体的边缘人士是女同性恋简。

在上世纪的英国，保守思潮蔓延，简陷入了同性恋群体常见的社会困境，在主流舆论对同性恋的抵制和偏见下，简不得不过着双重人生。

白天她是有着体面工作的小学体育老师，晚上她是俱乐部里无拘无束的酷儿。

在影片的前半部分，我们看到简塑造了一个界限分明的前台和后台，在侄子面前将女友称为朋友、禁止女友打电话到学校、禁止自己的拉拉朋友们接触自己的学生......

简尽力保持两种身份微妙且脆弱的平衡，并想当然的希望女友理解自己的做法。

简自身的处境也很微妙，她既不是不敢直面自己性别认同的深柜，也不是完全摆脱二元父权社会规训的新时代酷儿。

她处于两种意识形态的割裂和牵扯中，依靠地上世界获得面包，依赖地下世界获得爱情。

泾渭分明的界限不可逾越，但生活却不是如此非黑即白。

在看见女学生洛伊斯的第一眼，简就明白这个女孩和她是一样的。

简在学生时代因为自己的性取向受到的异样眼光和霸凌再一次在洛伊斯身上上演。

此刻简依旧是懦弱和退缩的，面对洛伊斯和曼迪的纷争，无论是整个社会环境还是她自身都无法帮忙洛伊斯从根本上解决她所面临的歧视。

简在众人面前愤怒的让洛伊斯去办公室等着，却在人后给予洛伊斯不同于其他女学生的关怀。

甚至，她试图让洛伊斯继续延续她那一辈大多数同性恋生存的办法：忍耐。

可看似合理务实的生存建议在新世代看来是那么不公平不合理，对于洛伊斯，她会选择打破原有的结构，而不是在制度和自由间苟活。

一次酒吧的意外相遇，洛伊斯知晓了老师简的秘密。

无论是故意接近简的朋友、在课堂上“持宠而娇”的暴躁脾气，还是故意送上女同杂志，洛伊斯的种种行为都在默默逼迫简消解两个世界的界限，在现实世界寻求自己的同盟。

但简是不安的、抗拒的，面对女友的质疑：“你到底给她树立了怎样的榜样？”

简哑口无言。

简还是自私的选择保全自己，在目睹曼迪对洛伊斯的色诱陷害后，她没有选择从女同视角解释她对这件事的认知和看法，而是继续坚持用主流意识形态和主流社会身份加害那个“曾经的自己”。

因为简无法为自己的身份而战，无法认同自己的身份政治，洛伊斯最终被迫休学。

当独善其身的生存态度真确伤害到无辜的她者时，当女友无法再忍受她自欺欺人的态度时，简终于醒悟过来审视这个社会结构及它对社会边缘群体的偏见和伤害。

她找到了休学的洛伊斯，企图通过她的谅解获得救赎，但洛伊斯却无法原谅当初选择成为加害者的简。

故事的最后，在侄子的生日会上，羞愧自责、疲于遮掩和社交表演的简坦然的说出了自己喜欢女生，她是女同。

原来，说出这句话也并没有那么困难。

从侄子的生日派对离开后，简开始大笑。

当她接受真实的自己后，她突然意识到自己之前自以为是的坚持和所谓的原则全都成了一场无足轻重的笑话，而她却因为自己的懦弱失去了女友、伤害了洛伊斯。

简现在要做的第一件事，就是让诸如洛伊斯一样的“小姬崽们”明白，她这样的羽翼丰满的大人应该是给其他不受自己原生家庭包容的边缘群体温暖，而不是排外、疏离和冷漠。

简现在要做的第二件事，就是积极参与关乎自己身份政治的斗争，在压迫的社会结构里，没有人可以独善其身。

也正是因为一个个简的醒悟，英国才有今天如此包容的LGBTQ文化语境。

这是一个很小很简单的故事，在过去，这样的故事讲的不够多；在未来，这样的故事也不会嫌多。

从侄子的生日派对离开后，简开始大笑。

当她接受真实的自己后，她突然意识到自己之前自以为是的坚持和所谓的原则全都成了一场无足轻重的笑话，而她却因为自己的懦弱失去了女友、伤害了洛伊斯。

简现在要做的第一件事，就是让诸如洛伊斯一样的“小姬崽们”明白，她这样的羽翼丰满的大人应该是给其他不受自己原生家庭包容的边缘群体温暖，而不是排外、疏离和冷漠。

简现在要做的第二件事，就是积极参与关乎自己身份政治的斗争，在压迫的社会结构里，没有人可以独善其身。

也正是因为一个个简的醒悟，英国才有今天如此包容的LGBTQ文化语境。

这是一个很小很简单的故事，在过去，这样的故事讲的不够多；在未来，这样的故事也不会嫌多。

见🫙

This film is largely about, I suppose, finding a group.

Of course, whatever related to minorities cannot escape from this topic, but in this film it stands out.

In Blue Jean the society is mainly revealed through TV shows, radio news and the chatty partygoers (Funny that Harringey gets to be mentioned). The party guys are totally unbearable - the arrogant speeches, frivolous conversations and repeated 'bad jokes', which serve as a microcosm of 1980s England. I like watching how Jean could initially be intact to such a society running around her. Though carrying a secret, she could be sitting alone during lunchtime and brush off a dinner invitation from a colleague without feeling awkwar, for she comfortably got her group as a shelter. It is after the quarrel with Viv that Jean's shelter started falling apart and the exterior material world was able to penetrate her previously safe haven. Actually, it's quite enviable that, instead of showing indifferent, quite a few people were actually carrying out heated discussion. Likewise, it seems to me that the UK's current LGBT-friendly climate has given directors the confidence and pride to continuously produce content on this theme without becoming tired.

The most touching moment to me is when Jean eventually took Lois to 'the group' where lesbians were talking about their stuffs using their 'discourse'. I relate to how thrilled it can be when you realise you find THE group of people - the deer who was in the headlight now walks into her herd. Being allowed to sit on the bench and observe is nice, but it's not what individuals are after. We all have a natural desire to find a group to which we can belong and with whom we can engage in conversation, even if it means starting with a simple 'What's...?'

Before admitting "I should have done something different", Jean once irritedly told Lois that, "I can't be what you expect me to do", despite that she must had been introduced to this group by (maybe Viv) someone and should know the significance of it. Yet without bravery and self-identity, she meant to not be that referral. Not becasue she didn't want to, but because she couldn't. Only when she gained the courage to say 'I'm a lesbian' aloud did she truly gain power and agency over her own identity.

storyline unfolds in a gentle, poetic manner that mirrors the organic rhythms of everyday life. Yet, sometimes things just don't flow as they should be - examples are those sleepless nights. You see, the soothing record can break and we are ultimately listen to ourselves' voice and be responsible for our own salvation.

Other thoughts:

It was shot on 16mm film - using this medium gives it a documentary-like quality to it.

I especially hate those guys who would lean over to 'help' wiping your absolutely clean mouth.

The Geordie accent is killer - downright captivating!!

There's something alluring about the way Jean smokes.

Last but not least, never underestimate how these dazzling young lads can turn out to be assholes : )

听着I follow rivers，想着距离在法国夏日黄昏的蓝色烟雾里跳舞，居然已经过去十年了。

聊Blue Jean就绕不过La Vie d'Adèle。同样是职业是老师，同样面对双面人生的困扰，同样跟爱人因为阶级差异分手，同样不敢在家人面前出柜。blue jean剧情设定在上世纪八十年代英国，阿黛尔是十年前，但是sex education里变装的Eric在路边被人打伤抢劫，也是这几年在发生的事。来自工作、家庭、社会对于同性恋的恫吓、威胁、压力，仍然无处不在着。威尼斯提名blue jean自有其现实意义，几十年前同性恋者的抑郁、失眠、羞耻、栽赃，仍然没有换来现在的平等。

《阿黛尔》是特别浓郁灿烂的蓝色，想到就像能感受到盛夏海边的一半海水一半火焰。《珍妮》是我更喜欢的阴郁冷淡的蓝色，女主实际上就像站在被偏见围成的圈子里根本动弹不得。前女友说她像路灯下的小鹿一样容易紧张，她在任何人面前都得假装，不能透露自己太多情绪，在任何想要尖叫哭喊的时刻下意识捂住嘴。

影评基本都提到双重生活。我觉得自己从类似的高敏感状态走出来也花了很长时间，今天好像能开一点也能被开一点玩笑，明天对外在的评价少在乎一点，但仍然感觉是戴着面具在生活的。进入社会后没有不戴面具的人，只有一种单纯想法的人也太容易被人欺负了吧，成长不一定是变好，是变得复杂。而且，一个人如果没有点双重生活，那该多无聊，少了多少体会别人的机会。当然，越是不为人知的一面越想被人理解和珍视，不过随着年龄增长也不太重要了，可能会觉得自己值得被尊敬被崇拜，就是不会被喜欢：P。

《珍妮》的音乐布景完全适合八十年代腐女爱好者（我），视觉摇滚啦，地下酒吧变装秀啦，电视上做作的假人秀。但是又想想queer as folk告诉我们千禧年后一定得洒脱地活，要精彩，要优秀，要为年轻人争取更多自由。Jean最后做到了，我们也可以。

One thing makes it not that attract me is the really struggle things of Jean all from outside of her body, neither from inner self. It makes me feel like it hasn't to be a LGBT film rather any topic of it. Cause LGBT has more than that concern of self identification. What a pity! It is also another example of scenario lack of intimacy and details and makes motivation towards action. The night version ’s jane (private) and daytime Jean(public) shared same image of her identity interpretation. Feels like she’s resist for nothing but a LGBT label. Not very believable. Further, if the real confront is between she and society, why this society is represented by all females, but while she first and only time time chose to defeat it is by using a male as a shield, after that immediately turn around to sing the praises of another community of lesbian. 即使是少数群体的影像也仍然是残缺不全的，导演应该不是part of group吧

很喜欢blue jean的画面和色调，也很中意女主角的妆造打扮。

之前偶然间有看到演员和导演的访谈，虽然没点进去，但看到了缩略图里女主演员的大背头，不得不说还是电影中这个微卷的刘海更适合她。

这部电影的画面应该是做了类似颗粒化效果（我猜）来渲染年代感吧，没有那么高清，但是很符合电影主题，看起来也很舒服。

很喜欢这部的色调，光是看着屏幕都觉得像给眼睛做了SPA。

很多场景、构图的设置也很巧妙，看起来很舒适。

女主角的打扮我真的非常喜欢，蓝色，干净，温柔，就和这个角色一样。

不瞒大家说，我一开始就是被女主角的扮相吸引到的，看了预告片后发现色调画面都很舒服，就知道我肯定会喜欢这部电影了，事实上也是如此。

这部电影的一些配乐也很妙很好听，印象比较深的是在厨房的一段俏皮的音乐。

看这部电影我真的忍不住截了好多图hhh

There will not be a magic day when we wake up and it's now okay to express ourselves publicly. We make that day by doing things publicly until it's simply the way things are.