Cheryl Dunye | Janine / 1990

two candles

by Douglas Messerli

 

Cheryl Dunye (director and actor) Janine / 1990

 

      One of the earliest of Cheryl Dunye’s works, the 1990 work Janine is a monologue in which the narrator lights two candles, filmed in color, before she begins her basically black and white framed tale (the black narrator Dunye sporting a white T-shirt) that, in fact, is about a black and white teenage relationship between herself and a fellow student, Janine with whom she played basketball of Mercy of Mary Academy near Philadelphia.

     Janine lived across the “main line” in the wealthy neighborhoods Lower Merion and Bala Cynwyd side with a working mother who drove a BMW, whereas Dunye grew up in far more rustic circumstances in Philadelphia. Although Dunye has sought out the relationship with the blue-eyed, blonde Janine, she admits that, even after they had seeming become friends, there “always was a constant struggle.” “I felt insignificant,” she suggests, and wanted to be more…well white.”

     One incident speaks volumes, as Dunye describes that after a basketball practice she showered in Janine’s house, putting shampoo directly onto her hair, when her friend, observing the act, intervened: “That’s so wrong. We don’t do it that way.” Later, Janine would offer Dunye her used clothes as if her friend’s mother couldn’t afford to properly dress her.

      As she grows older, Dunye begins to perceive her sexual difference, visiting lesbian bars and, always off campus, gradually moving into sexual relationships with other women. Finally, in the 12th grade, Janine’s friend reveals to her that she is lesbian. At first, Janine seems quite at ease with the fact, but later calls to tell her that she cried for a long while after. Finally, Janine’s mother calls, suggesting that she will pay for Dunye to visit a doctor to help her with her problem.

       That ended the relationship between the girls. Yet Dunye felt, justifiably, that Janine and her mother had had the last the word, and sometime later, on a Thanksgiving, called her up, only to be reminded by Janine’s constant mention of the great times they had shared in school—few of which Dunye recalled since her mind had far more centered about her own sexual issues—her “dear” friend from the past announcing that she was now living in Washington, D.C. where she had a $30,000 job and, like her mother, drove a BMW. Several times, apparently, she mentioned to Dunye that she is soon to be married. But the final straw was when Janine brought up the fact that several of their fellow female students had had babies out of wedlock, which Janine felt was a sin.

       Slowly we observe, the two candles lit in the first moments, have now gone out. The narrator has finally realized, with a new self-confidence, that her life and Janine’s have gone in quite opposite directions.

       It is the simple frankness of this confessional narrative that puts all the weight in Dunye’s court, leaving the seemingly perfect Janine looking like a somewhat mindless bigot. The happily ever-after life that Janine is looking forward to will never be as honest, robust, and exciting as Dunye’s life, of which the short film itself is testament.

 

Los Angeles, July 26, 2020

Reprinted from My Queen Cinema blog (July 2020).