passingreviews

[passingreviews]

Passing Up?

By Yasmin Eubanks

Rebecca Hall's directorial debut, Passing, delves into the intricacies of race, identity, and societal expectations in 1920s Harlem. This film is an adaptation of Nella Larson’s 1929 novel also titled Passing. The film is set against the backdrop of the Harlem Renaissance and explores the lives of two childhood friends, Irene Redfield and Clare Bellew, whose paths intersect as they navigate the complexities of racial passing. Irene, who lives her life as a Black woman runs into her old friend from childhood, Clare, who has been passing for white and is married to a racist white man. As they reconnect, Clare shows interest in immersing herself in Black culture once again while Irene displays a quiet envy for Clare’s lifestyle. However, this “lifestyle” that Clare lives is dangerous because of the risk of being exposed. The storyline reaches a climax when Clare’s blackness is discovered by her racist husband, John, and all the characters pay the consequences. Rebecca Hall, who has praised Larson’s novel for helping her to discover the secrets of her own ancestry, places much of her positionality within the film. Hall mentions in several interviews including Behind the Scenes of Passing with Dolby Institute and ABC News Live that her grandfather was an African American man who passed as white and that creating this film was a way for her to unpack the lost history of her ancestry. Behind the Scenes of Passing with Director Rebecca Hall | Dolby Institute While intended as an adaptation, Hall’s personal connection to the source material and her positionality may have influenced her creative decisions, resulting in the film being more of an interpretation than a faithful adaptation. 'Passing' director on film's exploration of race and identity 

While Passing showcases many cinematic achievements, including compelling performances, beautiful cinematography, and creative soundscapes, it also grapples with narrative shortcomings that leave the audience questioning the characters' motivations and the film's thematic direction. One of the notable weaknesses lies in the narrative and character development, which at times feels insufficiently explored. Both Irene and Clare, serving as unreliable narrators, blur the lines between truth and fiction, leaving viewers unsure of their true feelings and motivations. The tension between Irene and her husband Brian, as well as Clare's relationship with him, lacks clarity, leaving important moments in their dynamic feeling unanswered. Additionally, crucial questions surrounding race relations and colorism are only briefly touched upon, rather than thoroughly examined. The film doesn't fully explore the advantages of passing or adequately address the racism that many of the characters face throughout, which diminishes the seriousness of these issues. The complexity of their desires (Clare longing for Irene's perceived freedom in her Black identity and Irene yearning for Clare's privilege to navigate society as a white woman) and societal pressures could have been more deeply explored with thorough background narratives to provide a deeper understanding of their motivations. Despite these criticisms, Passing offers a thought-provoking examination of identity, privilege, and societal expectations. However, the ambiguity of its ending and unresolved narrative threads may lead to varied interpretations, leaving some viewers wanting clarity and more depth.

Who Can We Trust? Faulty Narrative?

One critique of Passing is that the narrative and character development lack depth and clarity, leaving the audience with an unclear understanding of key elements within the story. The unreliable narrators, particularly Irene, contribute to this lack of understanding as viewers are left unsure of her true feelings towards Clare, her husband Brian, and even herself. When the audience meets both Irene and Clare, there is little given about their backgrounds other than they are old friends from school. They have not seen each other in about 12 years and now they are both married with families. As Irene and Clare talk, we get surface-level information about them and their relationship however, many personal details are overlooked which leaves much of their stories unknown and can cause the audience to wonder what led Clare and Irene to this point in their lives. For example, we learn early in the film that Irene is married and has two children but there is almost no information about her past (9:30). For her to be the primary lens through which the story unfolds, the audience knows practically nothing about her which, as the narrative develops, makes her feel untrustworthy.

Irene's reliability as a narrator becomes questionable due to frequent contradictions between her words and actions. For instance, despite initially expressing reluctance to reconnect with Clare, Irene eventually forms what seems to be a close bond with her. In their initial discussion about passing, Irene asserts contentment with her life, stating, "Why would I [pass]? I have everything I’ve ever wanted" (12:30). She further reaffirms this satisfaction to her husband, Brian, later in the film, claiming, "I am satisfied…I am" (30:00). However, despite her assertions, Irene's behavior throughout the film suggests inner turmoil and dissatisfaction. Her relationship with Brian is strained, and her interactions with Clare hint at underlying tensions, casting doubt on the truthfulness of her contentment. The tension between Brian and Irene becomes apparent through cinematic techniques that separate them both physically and emotionally which can be seen in the still image below. Irene avoids addressing both her inner conflict and the conflict within her marriage and chooses to feign happiness which leads the audience to a lack of clarity. The repeated use of the narrative technique of concealing the truth within the dialogue to create suspense risks muddling the audience's perception of Irene's character which can lead to conflicting interpretations.

While Irene's perspective serves as the primary lens, Clare's unreliability further complicates the narrative, as both characters alternate between moments of self-assurance and doubt. As the film progresses, Clare's portrayal as an unreliable narrator becomes more evident, as she dances between embracing her Black identity and attempting to distance herself from it. Her reasons for choosing to pass as white remain unclear, with only brief glimpses into her past offering limited understanding of her motives. Clare's interactions with Irene and Brian are full of tension and uncertainty, causing viewers to doubt the authenticity of her connections and the genuineness of her behavior. Both Irene and Clare’s uncertainty can be seen in their relationships with Brian. The tension between Irene and Brian is obvious from the outset, yet the reasons behind this tension are never really explored. The only conflicts discussed between Irene and Brian surround how to raise their children however it is clear that this is not the only point of tension. Even before Clare is introduced into their lives, Irene and Brian’s relationship is strained (25:15-27:20). When Clare comes into the picture, there are flirtatious and jealous undertones as Clare and Brian’s relationship develops however, the nature of their relationship is never revealed and can only be speculated. While it's evident that Irene is aware of Brian's curious relationship with Clare, her level of concern or emotional investment remains ambiguous throughout the film, leaving audiences to wonder. Her conflicting behavior of willingly allowing Brian and Clare to go out without her (1:03:00) while also confronting Brian claiming that he is “happier having Clare around” (1:10:04) leaves audiences questioning Irene's motives. Regarding Clare, she is depicted as having a passionate connection to Irene, yet she appears to revel in the admiration Brian shows her. She openly flatters Brian in Irene's presence, displaying actions that do not clearly indicate her allegiance to either individual. As the film concludes, many of these questions remain unresolved, adding to the overall ambiguity of the narrative.

What about Racism? Colorism?

Although Passing offers an insightful story about identity it brushes over significant concepts such as race relations and colorism. Irene's description of passing as mere "convenience" disregards the significant financial and social advantages it provides, perpetuating a shallow understanding of its implications (12:40). Clare’s depiction of Irene's life as "safe" implies a misguided belief that Black existence is inherently less dangerous, ignoring the systemic racism that pervaded society in the 1920s (36:50). To some extent, Clare's existence is tense with danger as a result of her racial deception, yet she actively chooses this path, unlike other darker-skinned Black people who do not have the privilege of choice. Furthermore, instances of racism experienced by Irene's children are briefly brushed over, reducing the gravity of their impact. Brian’s character is the only voice that directly speaks on the danger and implications of race in America and he is often combatted by Irene. This raises again the questions of strength of the backstory. The audience does not know why Irene is responding to racism in this way which leaves the audience wondering about the thematic messages that Hall is attempting to portray throughout the movie. For example, Brian tells Irene that “somebody called him [Ted, Irene’s eldest son] a…dirty you know what today” (55:15). Irene is visibly shaken up but remains consistent with not addressing race saying just a few minutes later “You are not to talk about the race problem…” (1:09:00). The main character's refusal to delve into the subject of racism indicates its presence, yet both the film and the character avoid delving deeper into the matter.

John and Clare serve different representations of white culture and manifestations of racism within the film. John's depiction as a caricature of a racist white man undermines the gravity of his behavior and speech. In a film attempting to address themes of racism, John's exaggerated characterization diminishes the seriousness of the racist message he symbolizes. Throughout the limited interactions showcased with John, his racist remarks go unchallenged, contributing to the normalization of his bigotry within the narrative. This oversight in addressing and confronting John's racism detracts from the film's ability to effectively confront the realities of racism during the era. Furthermore, Clare, who is actively laboring to pass as white, represents the act of consumption in white culture; a characterization that was likely learned in the making of her whiteness. Clare's consumption of blackness and Black culture is depicted without sufficient exploration of the underlying racial dynamics. While she embraces Black culture, Clare does not identify herself as Black, highlighting the discrepancy between her actions and her self-perception. In an attempt to address racial identity in a conversation between Hugh and Irene, Irene states “We’re all of us passing for something or other” which further enforces this narrative as one of identity but does not fully address the underlying issues of race or colorism. (49:30-51:00). The film's shortcomings detract from its potential to make a significant contribution to discussions on race and passing.

Adaptation or Interpretation?

Rebecca Hall's positionality in Passing raises important questions about the director's approach to the subject matter. While Hall's personal connection to the themes of racial passing undoubtedly informs her creative vision, her prominent role in shaping the film's narrative risks overshadowing the perspectives and experiences of the characters themselves. Hall's interviews and statements about her own family history of passing suggest a deeply personal investment in the material, which can add depth and authenticity to the storytelling. However, there is a fine line between drawing from personal experience and imposing one's own perspective onto the narrative, potentially limiting the film's ability to explore the nuances of race and identity from multiple viewpoints. Furthermore, Hall's positionality as a non-Black director telling a story about Black characters passing as white invites scrutiny regarding her understanding of the complexities of racial identity. While it's essential for filmmakers to bring their own perspectives to their work, there is a risk of misrepresentation or oversimplification when a director's background differs significantly from the subjects they are portraying. In the case of Passing, Hall's positionality may have influenced the portrayal of racial passing in ways that overlook or flatten the lived experiences of Black individuals navigating racial identity in a society shaped by systemic racism.

Overall

Passing offers a compelling exploration of identity and societal expectations, yet falls short in thoroughly addressing racist and colorist ideologies. Rebecca Hall's personal connection to the material raises questions about her directorial approach, as her positionality risks overshadowing the perspectives of the characters and the complexities of their experiences. While the film showcases many cinematic achievements, including strong performances and captivating visuals, its narrative shortcomings and oversights detract from its potential to contribute meaningfully to discussions on race and passing. The ambiguity surrounding the characters' motivations and the film's thematic direction leaves viewers yearning for more clarity and depth, highlighting the importance of critically examining the director's interpretation of the source material.

[passingreviews]

Searching for Self: “Passing” Review

By Danielle Bing

Director Rebecca Hall’s debut feature length film Passing by Rebecca Hall was inspired by the 1929 novel Passing by author Nella Larsen. Hall’s career has been as an actress but in 2021 she made her directorial debut with this film. Passing follows two Black women, Irene Redfield played by Tessa Thompson and Clare Bellow played by Ruth Negga are old friends who have recently reunited. As Irene and Clare become reacquainted with each other Irene soon discovers that her childhood friend has been “passing” as a white woman. While Irene’s complexion is also light enough for to pass as well, she instead chose to live her life as a Black woman. As the film unfolds, the audience watches Irene as she questions her identity through Clare’s expression of her identity.   

Rebecca Hall’s film adaptation of Larsen’s novel came into fruition as a personal journey to understand her family’s background. During an interview with actress Uzo Aduba entitled “How Passing Was Adapted From Book To Netflix” for the But Have You Read the Book? Youtube book club webseries–Hall explained that throughout her childhood her mother seemed to have African American features however, when she questioned her mom about it she would dismiss the question. Eventually Hall’s mother revealed to her that her maternal grandfather was an African American man who chose to pass for white and the family never spoke about it. How Passing Was Adapted From Book To Netflix | But Have You Read The Book? The film, like the book, is a narrative that explores the aspects of identity and how identity forms perceptions of one’s own self and the external perceptions of other people.

What Really Made The Movie: The Details or The Acting? 

The cinematography of Passing is absolutely breathtaking! Given that this is Hall’s first feature length film one might not expect the level of intricate detail that is captured in this film. One of the strengths that can be seen throughout the film in both the details and the acting is ambiguity. The film is beautifully shot in Black and White during the 1920s in New York. This gives the film a more authentic feeling as it is a period piece. Had the movie been shot in color it would have taken away from a sense of realness that would have come from a colorized film. When the viewer watches the film closely they can see the many tones of gray and the shadows which enhance the costuming and settings. The absence of color forces the viewer to watch more closely in order to really see the details in the costumes, makeup, and props. By shooting the film in Black and White it enhances Irene and Clare’s ability to perform varying aspects of identity like race and class. Additionally, the film being shot in Black and White also makes it more difficult for the viewer to determine the skin complexions of Irene and Clare and complicates how they are perceived by others.

One of the scenes that captures the perception of how Clare and Irene are viewed well is towards the beginning of the film when Clare introduces Irene to her white husband John. Irene is surprised that Clare has a white husband. During their short conversation John makes several derogatory statements about African Americans. Irene in a sharp and direct tone asks “So, you dislike Negroes, Mr. Bellew?” John, without hesitation and in an assertive tone responds to Irene’s question stating “No, no, no, not at all. I hate them” as John and Clare laugh (Passing, 2021, 17:10 to 17:18). Irene abruptly begins to laugh in an off-putting and hysterical manner as she masks how she truly feels and does not draw any curiosity from John that would make him pay closer attention to her risking her true racial identity. This mask of laughter while uncomfortable for Irene affirms John’s racist behavior. Irene knows that if she says something to challenge John’s blatant racism she could be caught and her and potentially Clare’s safety could be jeopardized.         

The camera shots and angles force the viewer to focus on the acting of one or two characters at a time. Hall has discussed in several interviews such as: Tessa Thompson & Rebecca Hall Break Down the Dance Scene from 'Passing' | Vanity Fair and MVFF44: 'Passing' - Conversation with Rebecca Hall, Ruth Negga, Nina Yang Bongiovi that she used a 4:3 frame for most of the film which concentrates on the actor and blurs out the edges of the frame. One of scenes that shows this framing really well is during the dance scene.

The camera lens focuses on Irene and Hugh and blurs the space and background allowing the viewer to pay close attention to their conversation. Both Irene and Hugh are observing and commenting on the people in the room. As they are talking Hugh is commenting and questioning Clare because she has a commanding presence. Suddenly Hugh realizes that Clare is actually a Black woman who is “passing.” Along with Clare’s light complexion, her speech and dress simulate those of a middle-class white woman. Not only is Clare passing by race but also by socio-economic status as well making her seem so believable as a white woman. If you are not watching her very closely most people would not realize that she is a Black woman. Clare performs her whiteness so well that her own husband does not even notice that she is actually a Black woman.

Sound is one of  the most intricate aspects incorporated throughout the film. Sound makes the film compelling in several ways. From the opening seconds to the very ending of the film, sound enhances the film and supports the pace of the film. The sounds throughout the film help to signal the viewers feelings in particular moments, especially the moments when Irene’s inner self feels seen or when she is the one observing others. The undersounds of the film help to capture what is happening in a particular scene and how a character might be feeling.

The acting of the main characters: Clare and Irene make the narrative believable. Clare and Irene in particular, need one another in order for the film to work because of the personality differences of the characters. Irene needs Clare to self-reflect on her identity and who she thinks she is as she is going through a personal identity crisis. The exceptional acting by Tessa Thompson (Irene) and Ruth Negga (Clare) shine through their respectable characters. Thompson’s ability to play a character who is so uncertain of herself and Negga’s portrayal of a woman who is so free and does not conform to the labels of society are difficult to play. Once the viewer thinks that they understand a character something happens and disrupts their beliefs and makes them begin to question their knowledge of the character once again.

The Binaries of Identity: What Does It Mean to Pass?

Historically, American social structures have formed hierarchies which have shaped our understanding of identity. Social-hierarchical structures place value and provide meaning which impact how people are perceived. While a person can move between economic classes, race is often considered as a fixed category of identity. During the early-twentieth century the “one-drop” law was enacted to legally define racial status. Essentially, any person with any African ancestry became part of the Black racial group. Race is one of the most powerful social constructs, especially in America. Someone being labeled as a Black person created many societal disadvantages especially during the early-twentieth century. When a person steps outside of their assigned or assumed “category” it causes concern because they are disrupting social norms. Irene demonstrates this well in the film. Before Irene reunites with Clare, she was living a life where she conformed to society's expectations of a woman. Irene is a middle-class Black woman who adheres to the politics of respectability and tries not to draw attention to herself. Whereas Clare does not fit into a binary, does what is expected of a middle-class white woman, and welcomes the attention of others. By refusing to label herself she appears free to the viewer. So free that it can become uncomfortable or even frustrating when trying to understand Clare. 

Clare welcomes the gaze of other people, and she enjoys it. Rebecca Hall describes Clare as someone who has an identity without boundaries. During the same interview with Uzo Aduba Hall explains  “Clare is gay when she needs to be. She’s straight when she needs to be. She behaves like a man when she needs to be. She behaves like a woman when she needs to be. She’s black. She’s white. She’s this walking duality.” (How Passing Was Adapted From Book To Netflix | But Have You Read The Book?, 2021, How Passing Was Adapted From Book To Netflix | But Have You Read The Book?) She is constantly “passing”. Passing brilliantly shows the fluidity of identity rather than identity as being a fixed state. Clare’s character portrays this throughout the film as she continuously moves between race, class, sexuality, and culture. She is visible and invisible at the same time.

When viewing the film ,it is important to do so when you can focus without distractions because symbolism is incorporated everywhere in the film. From the costumes, accessories, and makeup to each prop. Hall’s usage of symbolism and foreshadowing through props and sound helps to control the pace and the feeling in different scenes. Irene is constantly dropping and breaking things. We first see her drop a flowerpot out of the front window of her home. Later , we see her at a party strongly gripping a teapot and dropping it as she stares at Clare who is receiving attention from everyone. These moments lead up to the ambiguous ending of the film. Symbolism also allows the viewer to form their own interpretations of Irene and Clare’s behaviors and emotions.

Was She Pushed? Did She Jump? Or Was It Something Else…?

Hall, like Larsen, purposely left many aspects of the film ambiguous. Making the decision not to provide all the answers to a film is unusual. However, by doing so the viewer's interpretation allows them to create their own conclusions about the characters identities, actions, and feelings. This also allows for the viewer to project their own beliefs and then reflect on them. This is skillfully done and keeps the viewer questioning, guessing, and rethinking what the characters are thinking and feeling throughout the movie and creates a constant reexamining of one’s self. 

The ending of the film leaves the audience in suspense because what happens to Clare is left untold. The ending allows the audience the ability to choose their own ending. The lack of knowing strengthens the film because it further complicates the narrative and themes within the film. As well as invites interaction from the audience by causing them to grapple with the ending of the movie and how they come to their conclusion. This allows all assumptions to be true and the film reveals that there can be more than one truth.