Oranges Are Not The Only Fruit

Oranges Are Not The Only Fruit is a compelling and memorable television drama produced by BBC Worldwide, first shown in 1989 and 1990. This ground-breaking show, a mini-series consisting of three episodes, was an adaptation of the autobiographical novel of the same name by Jeanette Winterson. Often considered revolutionary for its time, the series brought forth honest and raw perspectives on complex issues such as growing up as a lesbian in a strict, religious community.

Set in the 1970s in northern England, the story follows the protagonist: a feistily independent young woman named Jeanette, played by the outstanding Charlotte Coleman. Raised by her fervently strict and evangelical mother, Mrs. Winterson, portrayed impressively by Geraldine McEwan, Jeanette is subjected to a restrictive, disciplined life filled with religious teachings and expectations. Her mother has adopted her with a single purpose in mind – molding Jeanette into a mission evangelist to spread the gospel of the Lord. Ken Russell's direction brings forth the impact of such belief systems on an impressionable mind with skillful subtlety and poignancy.

As a coming-of-age story, the series shows Jeanette's youthful experiences and her growing awareness of her distinct identity, revolving around her profound realization of her sexual orientation. Amidst the religiously charged atmosphere, Jeanette finds herself attracted to women, a fact that leads to tumultuous incidents in her personal life and disruption in her relationship with her mother and the church. Her struggle to understand and come to terms with her lesbian identity collides with the rigid moral and religious doctrines of her community, leading to confusion, heartache, and isolation.

The overall tonality and presentation of Oranges Are Not The Only Fruit is poignant, powerful, and at times acerbically humorous. Resting on a potent script that blends realism with moments of surreal fantasy, the miniseries does not restrain itself to merely portraying the conflicts of a young lesbian woman. It ventures beyond to question the inherent hypocrisy of the cultural and religious systems, the intolerance towards differences, and the cost one pays for personal liberation against societal norms.

The undoubted strength of the series remains its well-etched characters and the incredible performances by the actors. Coleman excellently captures the spirit of Jeanette, her earnestness, naivety, and eventual revolt, while McEwan's rendition of Mrs. Winterson is both chilling and commendable, communicating a complex portrayal of deep-seated bigotry laced with unexpected vulnerability. The chemistry between the two leads manages to render a credible and moving mother-daughter relationship that forms the emotional core of the series.

Textures of magical realism permeate the narrative, aptly visible in dream sequences and imaginative storylines that reflect Jeanette's thoughts and feelings. This interplay of reality and fantasy, especially evident in Biblical reinterpretations, channels a distinctive narrative approach that adds to the series' visual and thematic richness.

Oranges Are Not The Only Fruit broke barriers with its candid exploration of themes of sexuality and religion that remained relatively untouched in the domain of television at that time. The series generated controversy and critical acclaim in equal measures, earning a BAFTA for Best Drama Series. Moreover, its cultural impact still resonates today, making it an essential part of television history that breached the narrative of identity politics and societal structures on television in the late '80s and early '90s.

The series, just as its novel counterpart, serves as an enlightening, emotionally-charged viewing experience that explores the crossroads of identity, love, and faith. It portrays the journey of a young woman caught in a tumultuous war with her sexuality and her determined struggle to be true to herself and her desires. Packed with unforgettable characters, engaging performances, and a powerful narrative, Oranges Are Not The Only Fruit offers an enduring commentary on the complexities of acceptance, self-discovery, and the human spirit's resilience.