Passing Review: Rebecca Hall's Directorial Debut Is Timely & Beautifully Crafted
First published in 1929, Nella Larsen's Passing shed new light on the biracial experience at a time when the "tragic mulatto" stereotype was still prevalent in society. Now the novel has been given a modern reexamination thanks to Rebecca Hall, who makes her directorial debut with a film adaptation that smartly handles Larsen's story. Hall, best known for roles in movies like Iron Man 3 and Professor Marston and the Wonder Women, also wrote the screenplay for Passing and regards this as a deeply personal project because of her family history. Quietly intimate and carefully crafted, Passing is both a fitting adaptation and an assured start for this actress-turned-director.
The title Passing refers to the practice where light-skinned Black people pass themselves off as white. It's one that both main characters have indulged in, though one has done so far more than the other. Irene "Reenie" Redfield (Tessa Thompson) lives in 1920s Harlem with her husband Brian (André Holland) and two sons. She only presents herself as white occasionally. One day, during one such occasion, she runs into an old friend, Clare Bellew (Ruth Negga), who has been passing herself off as white for years, to the point where even her racist husband John (Alexander Skarsgård) is unaware of her true racial identity. Though Irene attempts to break off their friendship, Clare continues to integrate herself into Irene's life, leading to complications for all involved.
Hall brings an old-fashioned sensibility to her visual style, coloring Passing in black and white and adopting that boxy (but always classic) 4:3 aspect ratio. Aided by the work of costume designer Marci Rodgers and production designer Nora Mendis, Hall completely transports viewers to the decade of a century ago, which only makes the story's relevance to today more resonant. Larsen's original novel is rich in themes regarding femininity, sexuality, and race, and the movie adaptation does not leave any of them behind. It's particularly interesting to see how Hall handles the queer subtext laced into Irene and Clare's friendship, shown through lingering looks and compliments about Clare's delicate beauty.
For all the thought-provoking conflicts at its center, Passing is a very quiet movie with an introspective main character. Irene is the de facto lead here, and through her eyes, Clare is almost like a cipher. That's certainly done intentionally, particularly when it comes to how Passing comes to a close. At the same time, so much of Irene's own thoughts remain tucked away. Again, one has to assume this was done on purpose, as Irene's conflicting feelings toward Clare are surely just as ever-changing to her as they are to the audience. And to be sure, Thompson plays her with an appropriately repressed air, letting her emotions out only with her eyes and carefully composed facial expressions. At the same time, as Passing wishes to grapple with so much in such a short runtime (just over an hour and a half), one has to wonder if Hall should've either expanded the story or opened up her characters a bit more. The struggle Clare and Irene face as being women who could exist in either the Black or white spheres is an important one, but doesn't always feel completely explored.
Nevertheless, Hall's cast is more than up to the task of bringing this tale to 2021. Thompson nails Irene's insecurities and buttoned-up emotions. Negga, as Passing's other half, is equally excellent as Clare. At first bubbling with flighty excitement over seeing her old friend, then gradually becoming more burdened as she feels torn in her life as a Black women passing as white, hiding parts of herself from the world as a result. Clare is an intriguing figure, and Negga expertly flits between the ease she projects and the heavy emotions weighing her inside. For supporting figures, Holland gets the most to work with as Brian and handles his own inner complexities well. Also, with a limited amount of screen time, Skarsgård makes an impact, though that's also partially because of his character's own actions. The Queen's Gambit actor Bill Camp also puts in a nice performance as novelist Hugh Wentworth.
Overall, Passing is a beautifully crafted adaptation of a novel that still hits home today even though it was published decades ago. Hall demonstrates a clear sense of visual style and makes solid, if not always perfect, work of the themes present in Larsen's story. Thompson and Negga both shine, and fans of theirs will be happy to immerse themselves in these performances. They could perhaps even court some awards gold when the time comes. Those looking for a quietly resonant movie will find some pleasures in Passing, even if they aren't familiar with the source material.
Passing will be released in limited theaters October 27, 2021 before arriving on Netflix November 10. The film is 98 minutes long and rated PG-13 for thematic material, some racial slurs, and smoking.