Passing is a shrewd portrait of race, inspired both by Rebecca Hall’s own family history and a close reading of the novel it's based on.
This time, though, she doesn’t make it back before being spotted. A pale, blonde woman flirting with nearly everybody across a dining room makes eye contact. “Reenie?” What we see, as the audience, is another light-skinned Black woman recognizing her own. But what the white people in the film see—what even Reenie sees, for several moments—is a white woman. This glamorous, mysterious lady approaches with a glint in her eye. “It’s me! Clare!” Irish actress.
Much of the film inches on quietly, with words, looks, and movements accruing over the course of public and domestic exchanges between the women and their spouses. Clare’s husband John Bellew is a jovial racist who takes Irene, and of course his own wife, for white. Brian, a doctor, is suspicious of Clare, and wary of her effect on his family. But it’s Irene’s crescendoing despair, and an internal pain that begins to beam out as a kind of paranoia, that push the film fragilely forward.
The movie’s premise is potentially a titillating one for a certain kind of white viewer who may hope to see the drama of racial strife played out on a grand scale; the number of times directors have remade, adapted from white writer Fannie Hurst’s 1933 novel, indicates as much. The idea of a Black woman passing for white is the stuff of melodrama, but Hall resists the ease of histrionics.instead, emphasizes how casually we can lose ourselves in a world built on varying and opposing perception.
, disappeared from public view towards the end of her life after moving from Harlem to downtown Manhattan. Acquaintances suspected she may have gone on to pass.
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