The final scene of this movie destroys all that preceded it by creating a responsible hetero-normality that needs to be maintained. Adele, the character we follow throughout this movie, is allowed the experimentation of youth only to be reigned back in by the majority, the masculine influence subtly influencing all three evolution’s of this movie. Emma, being the artist and having blue hair when we first meet her, is highlighted as “alternative” and allowed to remain outside of “normality.” Adele is a teacher who is balanced badly against the passionate Emma, she becomes a caricature of a tourist who graduates with her career into hetero-normal interactions with the opposite sex.
In sacrificing a delineated time-frame, all notion of the significance of this relationship is lost. What remains is a portrait of how heterosexual men fantasize and infantasize lesbianism as sexual exploitation of youth that is easily swayed by penis. The not so hidden message is not one of exploration but of exploitation. Instead of focusing on the three-part story arch of a relationship, it focuses instead sexualisation of Adele by men. Her story is not defined by her relationship with Emma, but with the three very definitive men dominating, and book ending the graphic (unrealistic) lesbian sex scenes.
Part One of this story is the corruption a 15 year of Adele, who eats candy and sugary treats as if she had forgotten that this was indeed not Hansel and Gretel. She is searching for the intangible, undefinable, that will gift her herself. Her young, inexperienced boyfriend is found to be deficient and cast aside for the intriguing blue haired artist, Emma, who exposes her to the wider and a far more adult world of culture, sophistication, acceptance and sex. In Part two, an indeterminable amount of time has past and Adele is living with Emma. Emma, confident, is a woman comfortable with her desires and has followed her passion in life. She is unashamedly intelligent, well educated and has attracted a circle of friends reflective of these things. Adele, however, has forged a career that she thought she should, as a teacher, but it is clearly not her passion. She is unhappy, unbalanced and is unable to be as fulfilled within herself as Emma is. This leads to a lack of passion or interest and Adele is intimidated by Emma’s opinionated and intellectual friends, being unable to contribute. This leads Adele to an affair with the obligatory second act male, the defined bookend penis to rectify her incompleteness. This affair leads to an irrevocable break with Emma, unable to accept the devastating betrayal. Adele retreats into her grey, banal unchallenged existence, while Emma utilizes this within her art and can fall back on her friends.
Another indeterminable amount of time later (I have seen it estimated at three years) we again meet with Adele for the third act. She contacts Emma and meets her at a cafe, only to find that she, confident and comfortable, has moved on and in with a partner. Although expressing tenderness for Adele, Emma rejects any notion of a return to a relationship. Attending Emma’s exhibition, Adele recognizes it as an example of her own failure and of Emma’s success, and leaves the exhibition. She is chased by another male. Three parts, three time periods, three males.
This is how alleged lesbian movies fail Lesbians, and to a wider extent, Queer movies fail the Queer community. Instead of being a failed love story, the insinuation is that Adele is easily pursued by male members of the community and has marginalized her experiences to youth and follie. Coming out movies are valuable to younger members of the Queer community and should not be underestimated, but when movies like Blue is the Warmest Colour are release, they should be honest about content and intent. This movie is not about lesbians or queer relationships. It is not even a failed love story. It is about how Lesbians are fetishised in a masculine culture for the gratification of men. Want more evidence? Just watch those ludicrous, unrealistic sex scenes.