Pinky(in Hollywood Movies) Pinky (1949) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Pinky on your mobile, tablets and ipads
Plot: Pinky, a light skinned black woman, returns to her grandmother's house in the South after graduating from a Northern nursing school. Pinky tells her grandmother that she has been "passing" for white while at school in the North. In addition, Pinky has fallen in love with a young white doctor, Dr. Runtime: 102 min Release Date: 29 Sep 1949
A truly Great Film - a woman's film that rivals Peck's "Mockingbird" (by DAHLRUSSELL)
We'll know we've "arrived" when people can get past the casting of Jeanne Crain as a woman of color. There ARE mixed race women who are as light as Jeanne Crain, but because of the "one drop rule," in 1949 they were, and often still today are -considered "black." In today's multi-cultural society these women often embrace their heritage, but the issues they face remain sadly the same today in many facets. Example: African Americans who are educated are often told they are "talking white." There is a reason that "she's passing" <more>
became an understood term. Very light skinned women & men in the early part of the 1900s DID try to do what Pinky here does. I was really encouraged to see the scene with Nina Mae McKinney next to Frederick O'Neal, next to Jeanne Crain, all playing "black folks." THAT is the reality of miscegenation in the South, and that is what people still have trouble with: sometimes race is not just black and white. It is uncomfortable and true. McKinney is marvelous, and fills every second of her screen time, whether she is removing a pebble from her shoe or coyly playing piano on top of a fence. I sadly find this film completely relevant today. These conversations of segregation and intermarriage are STILL going strong. There are African Americans who talk about "white women taking our men" or people of all races saying, "stay with your own race." This is segregationist, this is racist, and it still exists very strongly in all racial communities.Dorothy Dandridge and Lena Horne- both beautiful & talented - are often mentioned as possible contenders for this role. They simply were NOT light enough to pass for white, it hampered their careers, and they have both acknowledged that. Hollywood in general likes their races obvious, casting is still largely done by type and stereotype, no matter what race even today it would be hard to find an actress of stature who identifies herself as black, but who can totally pass as white; the market doesn't hire these women. Type casting is still the norm. Even my dark skinned actress friends have been told they don't "talk black enough" in auditions. Ethel Waters and Ethel Barrimore here, both fine actresses at the top of their game, were both type cast here in roles that they've basically played several times before; it is only the script context that made this special.Jeanne Crain had enormous courage to portray this role. Not only is she perpetually faulted for being a white woman playing this role, but she risked her career, some people questioned her heritage in a racist age. That is a tribute to the reality and sensitivity she brought to the role, and her acting, which is often maligned because she had reserve. Her "under acting" is actually the preferred style today in TV and film. She was ahead of her time. Part of why Crain is not liked much today is that she was a 40s type that is not valued today. Restrained, ladylike, mature in mindset, "high minded" - this is what she represented, and these things are not looked for in leading ladies today. What she represents has gone out of fashion; it was going out of fashion even then, and Kazan valued grittier, dirtier types like Brando. Kazan, who initially labeled her an impassive beauty queen, eventually credited her fine work.This movie is sensitively done in all respects with really great performances top to bottom. It is not glossy or simple, neither race is solely good or solely bad. It is a disservice to have the only DVD commentary done by someone who clearly still does not like the film and doesn't appreciate the complexity of Crain's work here. That a New Yorker thought the court trial didn't look real because people were all fanning themselves shows he has never spent time in the south in a public gathering place.This film is galling and aggravating, and unfortunately still very real. This is not a fun film, it is a great film, that speaks just as much to attitudes held today as it did then.
Pinky- Gentleman's Agreement Part 2 **** (by edwagreen)
Outstanding 1949 film with director Elia Kazan matching his 1947 Oscar winner "Gentleman's Agreement." A very belated kudos for Mr. Kazan in tackling social issues, in this case racial prejudice.What performances are depicted here. Jeanne Crain is the trained nurse who returns to the south and is immediately caught up in its worst form of bigotry. She is the granddaughter of the kind, wisely, illiterate woman who takes in clothing and sacrificed all so that her granddaughter could get ahead. Ethel Waters was so adept in her performance here. She is equally matched by Ethel <more>
Barrymore, as a crotchety woman, never forgiven by Pinky for a childhood incident, but ailing now and as a favor to Grandma Waters, Pinky agrees to take care of her.What a social problem erupts when the Barrymore character dies and it is revealed that she left her property to Pinky. A cousin and a cousin by marriage contest the will in court. Evelyn Varden, as the heavy set, bigoted cousin-in-law is terrific and a scene stealer in every scene she appears.This is an outstanding film depicting racial inequity and ultimate redemption.William Lundigan is memorable as the doctor who loved Pinky, but could not marry her. He could not accept her way of life.The film showed that there was anything but racial harmony in America. Notice the musical theme throughout the film is exactly the same as the music played at the beginning of "Gentleman's Agreement." Am sure that Kazan and 20th Century-Fox had plenty to do with that.
Before I saw this movie I thought Pinky should have been played by a Black actress but after watching it I think seeing a White treated like a Black made a much bigger impact on White audiences that were used to, one might say calloused to, Blacks being treated badly. Poor Tom. He loved her but he just didn't get it. Pinky's life was totally outside his frame of reference and he didn't even consider that if they had children it might make his tidy plans blow up in his face.I think this movie has a subtle grasp of race relations that was a credit to the writing, acting, and <more>
directing.I wonder what happened to the characters in the oncoming civil rights struggle. The movie necessarily doesn't have a happily ever after ending because it is set firmly in reality and we know too much about future events. Today's audiences might find it ominous that only one White person, the doctor, was even marginally on her side. It would be extremely easy for a small mob to destroy everything. The ending shot with Pinky by the signpost made me feel how alone she was despite being surrounded by people.
Black people "passing for white" was not a new topic for Hollywood in 1949. It was part of the plot of "Imitation of Life" in 1934, but in that film, an actual black actress, Fredi Washington, played the role of the young woman who "passes" in the white world. In 1949, there were two films dealing with this issue: "Pinky" and "Lost Boundaries," and in both cases, the black person was played by a white actor."Pinky" stars Jeanne Crain as Pinky Johnson, a black woman who looks white, so much so that she when she studies nursing in New <more>
York, she easily enters the white world and becomes involved with a white doctor who wants to marry her. Needing time to think over her situation, she returns home, which is a shack where her grandmother Ethel Waters lives in a black section of their southern town. There she is reminded of the prejudice and cruelty she left. When her grandmother asks her to care for an elderly white woman Ethel Barrymore , hostility between patient and nurse leads to an uneasy bond.This is a brilliant film all the way, magnificently directed by Elia Kazan and produced by Darryl F. Zanuck, who loved taking on these controversial social issues. The acting is superb: Jeanne Crain gives the best performance of her career as a woman who comes to grips with her true identity. She is so dignified as she walks through the town, soft-spoken yet strong, refusing to come down to the level of those around her. Ethel Barrymore is the elderly terminally ill woman Pinky reluctantly agrees to care for, and she nearly steals the movie with a no-nonsense performance. She's a woman set in her ways and opinions, but she's fair person who can see the human soul. It's probably the best drawn character in the film.As a teen-aged fan of "Route 66," I can well remember the publicity around the show when Ethel Waters guest-starred. Of course white teens in the '60s had no idea of who she was or the circumstances of her life and career. Yet to this day I can remember her on that show. Forty years later, thankfully, I have an appreciation of her place in history and her work. Waters gives a powerful performance. Her character has accepted her lot in life but sacrifices everything so that her grandchild can have a better one. In her world, white men have the power, and you can clearly see her belief manifested in her courtroom demeanor.The casting of Jeanne Crain is a sticking point here but not really when looked at in the context of the 1940s. Even with this casting, this is a bold movie, uncompromising in its depiction of white attitudes and racial slurs. It is just a pity that at the time of the filming, Fredi Washington was 45 years old and actually no longer in films. Washington looked so white that she was told by producers that if she would agree to "pass" and play white roles, she could have a career equal to that of Norma Shearer. She refused, and in order to play black women, she had to darken her skin. Lena Horne was deemed not white-looking enough. I suggest that the same is true for the beautiful Dorothy Dandridge. There may have been black actresses who looked white enough to play this role, but would anyone have answered such a casting call? Most importantly, "Pinky" would not have been made without Jeanne Crain, because Zanuck wanted her to do it, and it's a film that deserved making. The other sticking point in the film is Pinky's fiancée, a white doctor. His easy acceptance of her as black - and the fact that she kept it from him - is a weakness in the script. This was done perhaps to highlight that he wanted to her to continue to pass for white, therefore making it clear that Pinky has to the make the decision, but the scenario does not seem believable.You can predict the ending of "Pinky," and despite complaints that it's a typically neat Hollywood one, I found it immensely satisfying as I found the entire experience of watching this truly classic film, "Pinky."
It is not very "in" to like Elia Kazan right now, because he named names in the McCarthy witch-hunts and just received an honorary Oscar, but what a brilliant director he was. And if he didn't show much courage in the Fifties, he sure did in the Forties when he tackled racial prejudice head-on in two excellent movies: "Gentleman's Agreement" and "Pinky" John Ford is said to have chickened-out of directing this one . "Pinky" is not as good as "Gentleman's Agreement", but it ain't half bad either. Here we see a deeply prejudiced <more>
South where black girls are attacked on the streets and shops refuse them service. The scenes are realistic, even brutally filmed, and the language strong for its day.I'm sure Kazan must have been dismayed to have been given a Hollywood starlet to play the complex lead character - a black woman who looks white - but he managed to extract a damn good performance out of Jeanne Crain. The supporting cast is flawless, down to the smallest role. Kazan knew how to direct actors. Evelyn Varden deserves special mention as a vicious Southern matron. But the most praise must be reserved for the two Ethels - Waters and Barrymore - who are nothing short of brilliant.Okay, the ending's a little dicky, and predictable, but the intentions of the film-makers are sincere and the results must have been revolutionary in 1949. I love the way Kazan shoots his movies too - long unbroken sequences and tracking shots, and excellent use of light and shadow - both of which probably coming from his stage experience. Kazan combined a strong ability to work with actors and a keen cinematic eye to create some of the best dramatic films of the century. And "Pinky" is one of these.
Well-mannered nurse Jeanne Crain as Patricia "Pinky" Johnson returns to her poor "Black" neighborhood, in Mississippi. There, she is welcomed by washerwoman grandmother Ethel Waters as Granny . The pair are confronted by racism both outside and inside their home. Most importantly, it is revealed that Ms. Crain has been "passing" as "White". Moreover, Crain has become engaged to Caucasian doctor William Lundigan as Thomas Adams . While working at home, to support Crain's nursing education, Ms. Waters has grown close to ailing Ethel Barrymore as <more>
Miss Em . At first, Crain does not understand or accept the friendship between Waters, a former slave, and Ms. Barrymore, a former plantation owner. But, for her grandmother, Crain agrees to become Barrymore's nurse."Pinky" is a nerve-rattling classic.Probably, the most obvious "debate" point was the casting of Crain in the title role. Crain was definitely "pink" enough or, white-looking ; but, her general "movie star" persona makes the casting decision seem risky. Yet, Crain, under Elia Kazan's direction, triumphs. There are so many ways Crain could have fallen into acting traps - she could have used mannerisms, make-up, and/or other stereotypical devices to "camp" up the "Black" - but, she avoids each trap. Crain performs the role with a great amount of dignity. She was deservedly honored with an "Academy Award" nomination.Barrymore and Waters also perform well as you might expect .We are never, in the film, given a clear statement of facts regarding the heritage of Crain's "Pinky". My guess is that she is related, by blood, to both Waters and Barrymore. An attempted rape of Crain's character accounts, arguably, for her pink appearance; this might have occurred in more than one generation. It's also possible that a loving "mixed race" relationship was part of either Ethel's past. Making the "Black/White" history more clear would have only gotten the film into more trouble."Pinky" was quickly censored, and headed for the US Supreme Court.One of the Board of Censors' objections was, "a white man retaining his love for a woman after learning that she is a Negro." However, Mr. Lundigan's "Thomas" is only willing to retain his love under certain conditions; and, this leads to a sharp, less "Hollywood"-styled ending. The Supreme Court was correct. Some of the film's best scenes show the way Crain is treated after other characters learn she is not white. ********* Pinky 9/29/49 Elia Kazan ~ Jeanne Crain, Ethel Barrymore, Ethel Waters, William Lundigan
Sincere drama of racial bigotry with outstanding performances... (by Doylenf)
Elia Kazan took over the helm of PINKY when John Ford requested replacement as having no real interest in the story. He not only took over, but he did a superb job.Personally, it took awhile for me to get over the idea of casting JEANNE CRAIN as a light-skinned black, but she does some of her best work here. Same can be said of Ethel Waters and Ethel Barrymore, and not surprisingly, all three actresses were nominated for Oscars. Undoubtedly, all benefited by Kazan's firm direction.The story is essentially written to show the racial bigotry that existed and still does in many parts of <more>
the South. Without going into plot development, let's say the ending is a bit predictable, but the film still remains powerful and sensitive in its treatment of the subject matter.In 1949, this was a daring film for Fox to make, risking the possibility of hurting the reputation of its most popular box-office star at that time, Jeanne Crain. But credit goes to Darryl F. Zanuck for permitting his studio to make films like THE SNAKE PIT and GENTLEMAN'S AGREEMENT, risky and controversial. The box-office results and critical acclaim justified the risk.Well worth seeing, absorbing and sensitive.
Darryl F. Zanuck, the visionary man of the movies, was way ahead of his time when he decided to bring the Cid Ricketts Sumner's book of the same title to the screen. Mr. Zanuck took a gamble with this film that presented the ugly side of racial prejudice still rampant in the land when this 1949 movie was made.John Ford had been slated to direct, but obviously, he decided not to continue with it. Elia Kazan, the distinguished theater director, was brought on board to substitute for Mr. Huston. It was a good decision because Mr. Kazan was a man with the heart into the right causes who had <more>
seen a lot as a struggling man starting in the movies. The screen play by Philip Dunnne and Dudley Nichols was excellent.At the center of the story we find Pinky, a "colored woman", to utilize the term of used in the film, who is, for all accounts a white person. The fact, is promptly revealed as Pinky, who has graduated as a nurse in a Northern college, returns to her home town to see her grandmother, Granny, as everyone calls her. Right away she is the victim of the hatred so prevalent in that part of the country against people of color.Pinky is asked to help the dying Ms. Em, Granny's one time employer, who lives in a huge old house nearby. Me. Em is alone and has no one to care for her. Granny shames Pinky into accepting, telling her how Ms. Em, in turn, had taken care of her when she was sick and had no one herself to turn to, something unheard of in those days.At the same time, Pinky, is of two minds. Her boyfriend, the dashing Dr. Thomas Adams, comes looking for her and learns her secret, but he appears not to care for the fact that she is not white. Pinky's relationship with the old woman is not a happy one, as Ms. Em is hard on her, or so it appears. The only thing that is not made clear in the film, by what happens later on, is how Ms. Em decides to leave the house and her belongings to Pinky in a surprise move that stuns the young woman, her distant relatives and the town, other than to spite everyone and show her gratitude to Granny.The three women in the principal roles are the best reason for watching the movie. Jeanne Crain, with her beautiful looks, makes an effective contribution as Pinky, the girl that gets much more than what she bargained for. Ethel Barrymore is regal as Ms. Em, the no nonsense Southern woman who sees in Pinky a woman to carry on her dying wishes. Ethel Waters has a much smaller part, but as usual, she does an amazing job as the wise old grandmother."Pinky", ultimately, was one of Elia Kazan's best works in his early days as a film director. Although it appears somewhat dated, as racial prejudice is no longer as prevalent as it once was, the film still shows a shameful page of the American history because of the discrimination the blacks suffered in those days.
What was fascinating and groundbreaking in 1949 is now a bit old fashioned when it comes to the film Pinky. Like Guess Who's Coming To Dinner a generation later, 20th Century Fox and director Elia Kazan went as far as they could and not hurt the box office.Remember after all even with 'message' pictures, people have to come to the theater to see and get the message. If it were done 20 years later someone like Lena Horne would have been cast in the part of Pinky. It was the kind of role that Lena wanted to do at MGM, but they wouldn't give her, they wouldn't be that bold. <more>
Still I can't fault Jeanne Crain's performance which got her an Oscar nomination for Best Actress. She lost the Oscar sweepstakes to Olivia DeHavilland for The Heiress.Crain as Pinky has come home to her southern town after many years of living in the north and passing for white with her light features. As she puts she started when a train conductor escorted to the white section of a train she was riding on back when she left to go to nursing school. Of course the news that she's done that is shocking to her grandmother Ethel Waters who raised her. It's also a culture shock to Crain to come home and relearn segregated ways after living in the north. When Sammy Davis, Jr. wrote his autobiography Yes I Can he said he learned about racism for the first time in the army. Working in show business with his dad and uncle where he was a child performer like Michael Jackson was with his brothers he was insulated from the realities of the outside world. Show business was a cocoon for Davis just as passing was for Crain's Pinky character. She has some nasty incidents including one with Nina Mae McKinney who resents what she sees as high toned ways.Still Crain through her grandmother accepts a position to be a nurse companion to grand dame Ethel Barrymore who owns quite a bit of property. Her family is the local gentry there and Barrymore is dying. When Barrymore dies she leaves her estate, house and land to Crain and that gets her blood relatives led by Norma Varden all bent out of joint and ready to contest the will.Which sets the film up for a trial similar to the one in To Kill A Mockingbird although this is a civil matter. The result of which you'll have to see the film for.Besides those already mentioned look for sterling performances by Basil Ruysdael as Crain's attorney, William Lundigan as a white doctor who has fallen for Pinky, and Griff Barnett as a sympathetic doctor.The two Ethels, Barrymore and Waters, both received Oscar nominations for Best Supporting Actress. And as luck would have it Celeste Holm and Elsa Lanchester were also nominated in that same category for Come To The Stable. So with two double nominees for two pictures, Mercedes McCambridge went right up the middle and won for her performance in All The King's Men. Made easier of course by the fact that Mercedes was also in the Best Picture of 1949.Pinky is both old fashioned and groundbreaking. We'd never see casting like this again, but at the same time we can applaud the courage and daring it took for 20th Century Fox to make this film and for Jeanne Crain who got her career role out of it.