❝We're all passing for something or other, aren't we?❞
❝I'm beginning to believe that no one is ever completely happy, free, or safe.❞
۫ ׅ ⊹₊˚‧ ︵‿ ₊ ୨ ᰔ ୧ ₊ ‿︵ ‧˚₊⊹ ׅ ۫
Passing was a very interesting watch. Aside from it being beautifully shot and edited, it explored the rampant racism and resulting colourism in 1920s America (and unfortunately in present America, too), as well as the psychological cost of hiding one’s identity; Clare views passing as a sort of liberation, at least in the beginning of the film, while Irene sees it as dangerous and destabilising (though she also benefits from it to a much smaller degree), and what the audience realises is that neither perspective is morally simple. Alongside this are each of their hidden desires for freedom and social mobility, and the repression of these desires reflects the repression of identity, reinforcing the emotional claustrophobia surrounding the film. I also noticed that passing was treated much like a performance, with mostly Clare constantly having to act, which raises the question of where that performance ends and her identity begins.
Moving on to some of the more technical aspects, I loved how the black-and-white palette made the film emotionally stark, and combined with the 4:3 aspect ratio and frequent close-ups created a boxed-in feeling. I really liked the use of the score and silence, too; the music was pretty sparse and dissonant, which created a sense of unease that was amplified by the stark silence between the characters’ conversations. The costumes were gorgeously done, and represented the characters well while staying historically accurate: Clare’s wardrobe was very glamorous and fluid, while Irene’s was structured and comparatively more conservative.
Tessa Thompson and Ruth Negga were brilliant in their respective roles, with Tessa’s performance being more tightly controlled, constantly monitoring other people, and Ruth’s contrasting it by making Clare more expressive and playful, but never fully stable. I also thought André Holland did really well with his character of Brian, portraying a lot of quiet (and not-so-quiet at times) frustration at Irene’s need for control through subtle body language and facial expressions, not to mention Alexander Skarsgård’s unsettling performance as John, whose racism is terrifying because it’s delivered in such a casual manner, not to mention that his hatred for African Americans trumps any love he has for Clare.
Passing is a film that I’ll be thinking about quite a bit for a long time, and I definitely have to read the original novel, too; if you haven’t seen it already, I’d highly recommend giving it a go.
❝We're all passing for something or other, aren't we?❞
❝I'm beginning to believe that no one is ever completely happy, free, or safe.❞
۫ ׅ ⊹₊˚‧ ︵‿ ₊ ୨ ᰔ ୧ ₊ ‿︵ ‧˚₊⊹ ׅ ۫
Passing was a very interesting watch. Aside from it being beautifully shot and edited, it explored the rampant racism and resulting colourism in 1920s America (and unfortunately in present America, too), as well as the psychological cost of hiding one’s identity; Clare views passing as a sort of liberation, at least in the beginning of the film, while Irene sees it as dangerous and destabilising (though she also benefits from it to a much smaller degree), and what the audience realises is that neither perspective is morally simple. Alongside this are each of their hidden desires for freedom and social mobility, and the repression of these desires reflects the repression of identity, reinforcing the emotional claustrophobia surrounding the film. I also noticed that passing was treated much like a performance, with mostly Clare constantly having to act, which raises the question of where that performance ends and her identity begins.
Moving on to some of the more technical aspects, I loved how the black-and-white palette made the film emotionally stark, and combined with the 4:3 aspect ratio and frequent close-ups created a boxed-in feeling. I really liked the use of the score and silence, too; the music was pretty sparse and dissonant, which created a sense of unease that was amplified by the stark silence between the characters’ conversations. The costumes were gorgeously done, and represented the characters well while staying historically accurate: Clare’s wardrobe was very glamorous and fluid, while Irene’s was structured and comparatively more conservative.
Tessa Thompson and Ruth Negga were brilliant in their respective roles, with Tessa’s performance being more tightly controlled, constantly monitoring other people, and Ruth’s contrasting it by making Clare more expressive and playful, but never fully stable. I also thought André Holland did really well with his character of Brian, portraying a lot of quiet (and not-so-quiet at times) frustration at Irene’s need for control through subtle body language and facial expressions, not to mention Alexander Skarsgård’s unsettling performance as John, whose racism is terrifying because it’s delivered in such a casual manner, not to mention that his hatred for African Americans trumps any love he has for Clare.
Passing is a film that I’ll be thinking about quite a bit for a long time, and I definitely have to read the original novel, too; if you haven’t seen it already, I’d highly recommend giving it a go.
