Elia Kazan directed a lot of great movies. Pinky is not one of them, but there’s a great movie somewhere in there that’s struggling to get out.
The biggest problem with the film is that Jeanne Crain, the actress who plays Patricia “Pinky” Johnson, is wildly miscast.
Pinky is based on Cid Ricketts Sumner’s 1947 novel Quality, which is about a light-skinned African-American girl who “passes” as white.
Crain is as white as white can be, and to accept her as the granddaughter of the character played by Ethel Waters requires a willing suspension of disbelief. Crain’s physical appearance is only part of the problem, however. Her performance is never convincing either.
Pinky is a character who was raised by her grandmother, Dicey (played by Waters), in the Deep South, but who passed herself off as white after she went north to study nursing. She has a fiancé, Dr. Thomas Adams (William Lundigan), who has no idea about her racial background. When he finds out, he’s progressive enough to tell her it shouldn’t matter, but he acknowledges the racist and segregated world they live in. “It’s a tricky business,” he says to her. “You never know what exists deep down inside yourself.”
At no point in the film does Crain seem like she actually grew up in the Deep South community in which Dicey lives. It’s believable enough that she changed the way she spoke when she was “up North,” but at no point does her mannered demeanor crack, no matter how angry, scared, or sad she is.
Kazan knew that Crain was the wrong actress for the role, and probably made the best film he could with what he had to work with. The original director of Pinky, John Ford, dropped out of the project because he didn’t get along with Ethel Waters, and Crain was already cast as the lead when Kazan took over.
In the book Kazan on Film, he said, “The only things that were not mine, which are a hell of a lot, were the script and the cast. It was the last time I ever allowed that. Jeanne Crain was a sweet girl, but she was like a Sunday school teacher. I did my best with her, but she didn’t have any fire. The only good thing about her face was that it went so far in the direction of no temperament that you felt Pinky was floating through all of her experiences without reacting to them, which is part of what ‘passing’ is.”
Much better choices for the role of Pinky would have been an actress who was actually mixed race, like Lena Horne, Dorothy Dandridge (both pictured below), or Hilda Simms.
If a white actress absolutely had to be case as Pinky, Linda Darnell would have been a much better choice. Jennifer Jones or Yvonne De Carlo wouldn’t have been terrible choices, either.
Crain, on the other hand, seems like stunt casting done for shock value. For instance, Melba Wooley (Evelyn Varden), one of the most odious characters in the film, exclaims after meeting Pinky, “Why she’s whiter than I am! It just gives me the creeps.”
The only interesting thing about having Crain in the lead is that it draws attention to how inextricable the concept of race was from the social struture of the segregated South. For instance, when two police officers show up after Pinky is arguing with a black man and a black woman, their attitude to her is solicitous and deferential. But as soon as her “true” race is revealed, they manhandle her and throw handcuffs on her.
Later in the film, when Mrs. Wooley is unable to get a store cashier to interrupt her transaction with Pinky to pay attention to her, she raises her voice loud enough for the manager to hear and says, “Since when has it been your policy to wait on nigras before white folks?!”
Like every film directed by Elia Kazan, Pinky is worth seeing at least once. Ethel Barrymore and Ethel Waters both turn in excellent performances, and films from this era that tackle racism head-on are extremely rare. Still, after watching Pinky I was left considering what might have been.