Oranges Are Not the Only Fruit

Well-acted, sometimes touching, sometimes shocking, story of a young English woman's coming of age and coming to terms with her lesbianism.

Her homophobic parents oppress her unmercifully, but she makes some friends who help her thru her crises to become a strong person. Definitely worth a look!

This film hit me hard. I watched it by coincidence, but couldn't keep myself away. It's disturbing, true, but it tackles a topic lots of people need to think about. It's a very difficult topic to discuss in a film like this, and I think it has been done very well. Everyone should see this film!

One of its many brilliant touches is the ability to be both funny and heart rending at the same time - I can recall scenes where crying and laughing are mixed together(a very messy pairing!).

Charlotte Coleman, Geraldine McEwan and Kenneth Cranham are all outstanding (not forgetting Emily Aston and her asking a confused ice cream seller " What's fornication?"). The whole production team should take a bow as well, with all elements of the project coming together to make something that I feel is one of the high water marks of British TV, and which I tear has ebbed for ever, or at least the foreseeable future. Like the previous reviewer, I watched it at a young age, and can remember whole scenes and strands very clearly, a not inconsiderable feat when I consider all the TV programs I consumed at that age.

I read the book, and loved it, having to give it back to the library before the Easter long- weekend left me little to do, so after some searching (albeit mainly on YouTube) found this adaptation.

This adaptation was written by Winterson herself, so I expected it to be good, and it was. The acting was tremendous and it stayed quite faithful to the book, as you would expect. Some have accused this adaptation over being over-dramatic and over-exaggerated , particularly with the portrayal of the church and the character of Jeanette's (who in the adaptation is now called Jessica) mother, and to an extent it is, but I feel that this was how it was written in the book and so is fair enough.

Where it fails, however, is that it clearly bears the scars of the transition from page to screen. Mainly through how the cutaway fairy-tales that, whilst about different characters, are significant and relevant in their themes to the main story, are cut out. This was particularly sad for me as I was eager to see how this would be done. The most likely explanation is that this would cut down the adaptation to a happy three-parter, so could this be understandable?

In my opinion, the finest movie ever made for television. Charlotte Coleman and Geraldine McEwan are magnificent.

I stumbled upon this movie quite by accident when it was shown in 1990 or 1991 on A&E in Canada, and I stayed up all night to watch it again. I bought Jeanette Winterson's book the next day and have loved it ever since.