“Passing,” Reviewed: Rebecca Hall’s Anguished Vision of Black Identity

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States, Women on 2021-11-28 17:12Z by Steven

“Passing,” Reviewed: Rebecca Hall’s Anguished Vision of Black Identity

The New Yorker
2021-11-08

Richard Brody

Ruth Negga and Tessa Thompson star in Rebecca Hall’sPassing,” a drama of images and self-images. Photograph courtesy Netflix

With a remarkable fusion of substance and style, Hall’s adaptation of Nella Larsen’s 1929 novel unfolds inner lives along with social crises.

Rebecca Hall’s directorial début, “Passing,” based on Nella Larsen’s 1929 novel of the same name, is one of the rare book adaptations that brings a literary style to the screen. The film’s sense of style is more than mere ornament; it embodies the confrontation with circumstances—practical, emotional, historical—at the heart of the story. “Passing” (coming to Netflix on Wednesday) is a period piece, set in Harlem during Prohibition, just before the Depression. The movie achieves an ample, resonant reconstruction of that era, but it doesn’t feature colossal sets or give the sense that entire neighborhoods were transformed for the purpose of shooting. Instead, Hall uses sharply defined locations imaginatively and conjures the time through her original way with light, texture, and gesture, all redolent of a storied yet troubled past. The result is an emotional immediacy that’s all the sharper for its subtlety, all the more intense for its contemplative refinement, and that, above all, gives apt expression to the film’s mighty and agonized subject.

The movie stars Tessa Thompson as Irene Redfield, a woman of about thirty who lives in a Harlem town house with her husband—Brian (André Holland), a doctor—and their two sons, one a child and the other on the cusp of puberty. She’s an activist who works as a volunteer for a (fictitious) charitable organization called the Negro League while also running the household. A light-skinned Black woman, she’s taken for white by white people in the course of her errands outside Harlem on a hot summer day. At a hotel café, Irene encounters Clare Bellew (Ruth Negga), a friend from high school whom she hasn’t seen in a dozen years. Clare, too, has light skin—but, unlike Irene, she intentionally passes for white. She’s married to a wealthy white banker named John (Alexander Skarsgård) and lives her entire life amid white society. Clare’s reunion with Irene (whom she calls Reenie) awakens a long-suppressed desire to exist among Black people, to affirm her own identity without shame or fear. Clare imposes herself on the Redfield household, befriends Brian and the boys, takes part in Negro League social events run by Irene—and, in doing so, knowingly confronts the grave risk that John will find out that she’s Black…

Read the entire review here.

Tags: , , , , , , , ,

My Complicated Relationship with Passing for White

Posted in Autobiography, Media Archive, Passing, Social Justice, United States, Videos on 2021-11-23 02:18Z by Steven

My Complicated Relationship with Passing for White

TruJuLo Media
2021-11-19

Fanshen Cox, Actor, Educator, Writer, Producer

This week I share my experience with the concept of passing for white as I watch the #Netflix film #Passing starring #TessaThompson and #RuthNegga and directed by #RebeccaHall. I share important books and history lessons I’ve learned as I shape my understanding of racism and the invention of #whiteness in the United States.

TruJuLo is a production company that uplifts stories that speak truth in pursuit of justice in service of LOVE. This Youtube channel is dedicated to teaching, learning, inspiring, spreading joy and navigating the challenges that BIPOC filmmakers experience in their filmmaking journeys.

I’m a Black, Jamaican, Cherokee, Blackfeet and Danish playwright, producer, executive producer, actor and development executive working in Hollywood. I spent 7 years traveling across the country presenting my one-woman show One Drop of Love and have worked as a producer and development executive at Ben Affleck and Matt Damon’s production company, Pearl Street Films, for 5 years. I’m also the co-author of the Inclusion Rider, along with Kalpana Kotagal and Color of Change. I’m here to share the lessons I’ve learned as a BIPOC, Global Majority Member filmmaker, storyteller, playwright and theatre producer.

Tags: , , , , , ,

Rebecca Hall’s Passing Says The Most In The Silences

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States, Women on 2021-11-19 22:40Z by Steven

Rebecca Hall’s Passing Says The Most In The Silences

Elle
2021-11-12

Christine Jean-Baptiste
Montréal, Quebec

Passing opens on a busy street in 1920s New York. A mysterious woman (Tessa Thompson) is roaming through Manhattan. In this part of town, she anxiously hides behind a wide-brimmed hat covering half her face. It’s every bit intentional. When she later settles down in the grand tea room at The Drayton Hotel, she stays camouflaged among a sea of lily-white couples. As she people-watches, her eyes lock on an almost unnoticeable old friend, Clare Kendry (Ruth Negga), who blends in perfectly with the crowd.

In her directorial debut, Rebecca Hall takes on an ambitious adaptation of Passing, a 1929 novel written by Harlem Renaissance author Nella Larsen about two Black women who live parallel truths: one, Clare, is passing as white, and the other, Thompson’s Irene, envies the privileges that come with the act. When it first premiered at the 2021 Sundance Film Festival, Passing was touted as a “psychological thriller about obsession, repression, and the lies people tell themselves and others to protect their carefully constructed realities.” But the film is less potent than its subject matter. Instead, race identity in America is a soft whisper that is meant to haunt instead of educate.

Though both of these light-skinned Black women have shared a similar upbringing, Irene and Clare could not have grown further apart. Irene lives in Harlem with her two children and charming husband (André Holland), who is Black. Clare has dyed her hair blonde and lives partially in Europe with her daughter and racist husband (Alexander Skarsgård), who is white. After catching up over champagne in Clare’s suite, the dynamic between the two women tightens, emphasized by the enclosing camera shots. While Clare seems delighted to be reunited with an old friend, Irene appears hesitant and reserved. It doesn’t make Irene any more comfortable when Clare says dating a rich white man is “well worth the price,” implying that she’s comfortable passing as a white woman and benefiting from it. Or when Clare’s husband walks in, expressing his gratitude for Clare’s “whiteness.” Irene soon realizes that her childhood friend was now someone with a secret, because the man who hates Black people so much did not realize his wife was one…

Read the article here.

Tags: , , , , , ,

How Netflix’s adaptation of Passing reflects the novel’s time — and ours

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States, Women on 2021-11-13 20:59Z by Steven

How Netflix’s adaptation of Passing reflects the novel’s time — and ours

Vox
2021-11-10

Alissa Wilkinson

Ruth Negga and Tessa Thompson in Passing. Courtesy of Netflix

In Rebecca Hall’s film, Nella Larsen’s story comes to life in black and white.

Halfway through Nella Larsen’s 1929 novel Passing, the book’s protagonist, Irene Redfield, is feeling uneasy. She has just had a tense argument with her husband. Now, watching him fiddle with his hat, Irene is worrying: “Was she never to be free of it, that fear which crouched, always, deep down within her, stealing away the sense of security, the feeling of permanence, from the life which she had so admirably arranged for them all, and desired so ardently to have remain as it was?”

Larsen’s book is suffused with that sense of unease, the feeling that one wrong move might undo a life entirely, that the structures on which our families, routines, and even identities rest are precarious. And the new Netflix movie based on Larsen’s book, adapted for the screen by Rebecca Hall and starring Tessa Thompson and Ruth Negga, brings Larsen’s prose — unease and all — to vibrant, visual life.

The story transitions seamlessly to the screen in part because the “passing” of the title refers primarily (though not exclusively) to its main characters’ ability, in a segregated society, to “pass” as white. The story centers on Irene (Thompson) and a childhood friend, Clare Kendry (Negga), with whom Irene unexpectedly reconnects one day at a whites-only hotel. Both women are Black, having parents or grandparents who were Black, but both are also light-skinned enough for white people of similar social class to assume otherwise…

Read the entire article here.

Tags: , , , , , ,

The Passing Trailer Highlights That Race Is A Delusion

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States, Women on 2021-11-13 00:36Z by Steven

The Passing Trailer Highlights That Race Is A Delusion

Refinery29
2021-09-24

Nylah Burton

Photo: Courtesy of Netflix.

“Race is a delusion,” my friend sighed. We had been discussing passing, the act of someone from one race being accepted or perceived as a member of another, usually a marginalized race to white. After numerous anecdotes about the ridiculous race science-y tactics — gauging the slope of a nose is a popular one — that people employed to categorize others, this was our conclusion.

A week later, our Twitter timelines were scattered with comments on a tantalizing trailer for Passing, a forthcoming Netflix movie based on Nella Larsen’s 1929 novella of the same name. The film, which will be released on November 10, stars Ruth Negga as Clare and Tessa Thompson as Irene. According to Larson’s original story, both Clare and Irene are supposed to be white-passing.

Still, no matter how good their acting is, Negga and Thompson are not Clare and Irene. They’re not “dark-white” or “olive-skinned” characters on a page onto which we can project our own individual images. They’re flesh and bone people that the public solidly recognizes as Black women. There’s no real chance of delusion because we already feel in the know. Because of that, Twitter debated whether these two women could actually be white-passing. For many, the idea was ridiculous. They pointed out the features of Negga and Thompson’s flesh and bone — their skin, the shape of their noses, the curl of their baby hairs — to say it was impossible that these two women could have passed for white in the 1920s…

Read the entire article here.

Tags: , , , , ,

‘Passing,’ Ruth Negga refuses to be pinned down

Posted in Articles, Arts, Autobiography, Europe, Interviews, Media Archive, Passing, United Kingdom, United States, Women on 2021-11-12 19:40Z by Steven

‘Passing,’ Ruth Negga refuses to be pinned down

The Los Angeles Times
2021-11-11

Sonaiya Kelley, Staff Writer

Actress Ruth Negga stars in “Passing,” now streaming on Netflix. (Jason Armond / Los Angeles Times)

Ruth Negga has given the subject of identity a lot of thought.

And not just because she stars as Clare Kendry, a fair-skinned Black woman who moves through life as a white woman, in “Passing,” Rebecca Hall’s adaptation of Nella Larsen’s 1929 novel. No, Negga’s musings on identity stem back to her childhood in Ireland and England, where she was first introduced to the concept of being othered.

“To be honest, I’ve never fit in anywhere,” she said over Zoom in October. “I think being Black in Ireland when there wasn’t that many Black people and being Black and Irish in London at an all-white school in the early ’90s wasn’t great for me either.”

At the same time, being hard to categorize has not always been a bad thing, she says. “I think sometimes there is a pleasure I get in being different. I felt safe being the other in many ways because that’s where I could be my whole, true self.”

The Ethiopian-Irish actor frequently upends notions of social constructs such as race and identity in her work. In “Passing,” which is set in the 1920s, Clare enjoys the privileges afforded only to white women by day while sneaking off to Harlem to commune with Black folks by night (Tessa Thompson co-stars as Irene, a woman who only flirts with the possibility of passing). And in 2016’s “Loving,” Negga stars as Mildred Jeter, a woman in an interracial marriage who challenges the Supreme Court to end the anti-miscegenation laws that condemn her marriage as unlawful…

Read the entire interview here.

Tags: , , , , , , , , ,

Ruth Negga Crafted a ‘F*ck-You Machine’ to the Establishment with Her Radiant Turn in ‘Passing’

Posted in Articles, Arts, Media Archive, Passing, United States, Women on 2021-11-10 01:53Z by Steven

Ruth Negga Crafted a ‘F*ck-You Machine’ to the Establishment with Her Radiant Turn in ‘Passing’

IndieWire
2021-11-05

Jude Dry

Ruth Negga in “Passing
Netflix

Negga’s provocative and strong-willed character in Rebecca Hall’s film highlights the actress’ singular talent.

Ruth Negga’s radiant performance in “Passing” is almost unrecognizable from her last Oscar-nominated role. Those who only know the Irish and Ethiopian actress as Mildred Loving, the soft-spoken, steady heroine of 2016’s romantic drama “Loving,” are in for a delightfully rude awakening when they meet Clare Bellew, the destabilizing force whirling through director Rebecca Hall’s new film.

While Mildred was resolute and composed in the face of injustice, Clare is provocative and strong-willed, a sunny seductress determined to live life exactly on her terms. Though they live in very different worlds, Clare has a lot more in common with Negga’s hot-headed “Preacher” character Tulip than she does with Mildred — and with the charismatic Negga herself.

In an interview with IndieWire, Negga explained why she embraced her latest onscreen character. “Everything about Clare for me is a fuck-you to an establishment, any kind of establishment,” she said. “A Black woman wanting something, being fully invested in her ability to seduce anyone, her enjoyment of it, her enjoyment of flirting with danger, but also, at the same time, acknowledging that she cannot be safe.” She described Nella Larsen’s original novella, which inspired the movie, as “a fuck-you machine … but also a very human one, because everything about her is a worry to the status quo.”…

Read the entire article here.

Tags: , , , , ,

Tessa Thompson Delves Into the Subtext of ‘Passing’: ‘None of Us Fit Too Squarely in Boxes’

Posted in Articles, Arts, Identity Development/Psychology, Media Archive, Passing, United States, Women on 2021-11-09 02:54Z by Steven

Tessa Thompson Delves Into the Subtext of ‘Passing’: ‘None of Us Fit Too Squarely in Boxes’

Variety
2021-11-05

Angelique Jackson, Reporter


Ryan Pfluger / AUGUST

In “Passing,” Tessa Thompson stars as Irene Redfield, a Black woman living in Harlem amid the Renaissance, whose life with her doctor husband Brian (André Holland) and their two sons is turned upside down when she reconnects with Clare Kendry (Ruth Negga), a childhood acquaintance who’s since begun passing for white and is married to a wealthy (and racist) businessman named John (Alexander Skarsgård). The movie, which marks Rebecca Hall’s feature directorial debut, recently earned five Gotham Award nominations, including a lead performance nod for Thompson. Beyond her own acknowledgment, Thompson explains, those accolades represent something more. “It was so hard to get the film made because of the subject matter and because it’s shot in black and white,” she tells Variety. “When movies like this do well, all that does is make room for more stories like this to be told.”…

Read the entire interview here.

Tags: , , , , , , ,

Passing: On crossing the color line

Posted in Articles, History, Media Archive, Passing, United States, Videos on 2021-11-03 15:27Z by Steven

Passing: On crossing the color line

CBS Sunday Morning
CBS News
2021-10-24

Passing can be a gray area that some biracial or multiracial Americans face when navigating questions of identity and social acceptance, while defining the story we tell about ourselves. “CBS Saturday Morning” co-host Michelle Miller talks with Rebecca Hall, Tessa Thompson and Ruth Negga, the director and stars of the new film “Passing,” and with writers Lise Funderburg and Allyson Hobbs, about the social history of passing, and its impact upon perception and power.

It’s been a theme in Hollywood for years, from “Imitation of Life,” to “The Human Stain.” And off-screen, the subject of “passing” – crossing the color line – is just as complex.

“The world perceives me as White, at least visually,” said Chicago lawyer Martina Hone, who has lived her whole life balancing her Black mother’s identity with her European father’s privilege.

“CBS Saturday Morning” co-host Michelle Miller asked, “Have you ever passed at any point in your life?”…

Read the story here.

Tags: , , , , , , , , ,

The Fearlessness of Passing

Posted in Articles, Book/Video Reviews, Literary/Artistic Criticism, Media Archive, Passing, United States on 2021-11-02 22:02Z by Steven

The Fearlessness of Passing

Dissent
2021-10-27

Charles Taylor

Ruth Negga’s Clare (left) and Tessa Thompson’s Irene in a still from Passing. (Netflix)

Rebecca Hall’s adaptation of Nella Larsen’s 1929 novel continues the author’s exploration of the suffocating strictures of the color line.

Making a movie of Nella Larsen’s 1929 novel Passing, one of the great works of the Harlem Renaissance—and, I’d argue, a great American novel—would be tricky in any era. That the actress Rebecca Hall, making her directing debut, has done a close-to-devastating job of it in this era is a remarkable achievement.

The novel is the story of two girlhood friends who reencounter each other as young, married women, one passing for white and the other firmly settled into the life of Harlem’s black bourgeoisie. Larsen practically invites the careless reader to fall into well-intentioned sociological clichés—in other words, to believe that this is a novel about the tragedy that befalls those who, driven by racist persecution, cross the color line and betray their own.

Actually, the novel is about the absurdity of the color line as a concept, about race as “the thing that bound and suffocated.” For Larsen, the idea that you could betray your race was another way of saying that people should stick to their own kind. It’s the passing Clare, a slim, pale-skinned, heedless beauty, who is Larsen’s heroine. Clare, taken in as a maid by her poor white aunts when her alcoholic father dies, doesn’t decide to pass because she’s oppressed but because she’s shunned by the well-heeled black people among whom she grew up. (In one stinging scene, Clare, already passing, approaches an old school friend whom she recognizes while shopping in Marshall Field’s, only to have the woman cut her dead.) Clare is hungry for life and for pleasure, which she takes as it comes to her. The way in which she crosses back and forth between black and white, between the thrill of a Negro Welfare League dance and white upper-middle-class society, makes a hash of the polite segregation—of both race and class—to which the novel’s other protagonist, Irene, pays obeisance…

Read the entire article here.

Tags: , , , , , , ,