Willene Joan D’ Costa
LIT 370
Professor Abbott
2/19/15
Pinky
Lonnae O'Neal Parker’s view of racial identity isn’t based on physical and biological traits, but on the individual’s innate choice to proudly accept their roots and who they truly are (O’Neal Parker). Pinky Johnson is a strong character who chooses to pass as white at first, but then not only regrets her decision, but also refuses to pass ever again (Pinky). She doesn’t make this decision just because she must accept the social view that she is black, but because she feels that by embracing her community she can lead a more meaningful life (Pinky).
Pinky Johnson is originally from the south where she was always curtailed due to her race. Hence, her grandmother decides to send her to Boston where she would be able to get a better education and more opportunities (Pinky). While in Boston, Pinky begins to call herself Patricia, educates herself to be a professional nurse, and begins to live a life as a high class northern girl (Pinky). Elia Kazan, the director of Pinky, portrays the character of Pinky as a woman of mixed race whose ‘white’ features are so distinct that nobody would even guess that she has African American blood unless they were actually told that (Pinky). The only other way of knowing about her heritage was through her grandmother, Dicey Johnson, who is distinctly black. Elia Kazan perfectly portrays this in the scene where the two cops mistake Pinky to be white and come to help her because they think that Jake is molesting her (Pinky). At first they are very protective and respectful of Pinky, but the moment she tells them that she is actually black and is Dicey Johnson’s granddaughter, they begin to harass her, and even arrest her for no fault of her own (Pinky).
Minute signs of Pinky’s regret towards passing can be seen in the beginning of the movie as the reason for her return to the South (Pinky). While she was in Boston, she hid the fact that she is of mixed race and passed as white (Pinky). She did not even talk about her grandmother or where she came from, as if she is afraid of facing the prejudice of being a lower class black individual (Pinky, 7:16). She goes to the extent of not even telling her white and high class significant other, Dr. Thomas Adams, about her race (Pinky). Hence, when he asks her to marry him she sees no other way but to come back to the South (Pinky). Elia Kazan portrays Pinky’s return to the south to indicate that Pinky knows that while she deserves to be treated as an equal, if she continued to pass she would be doing wrong and would have to live with the guilt of deceit (Pinky).
Initially, Kazan shows that Pinky’s regret towards passing stems from the knowledge that she is black and pursuing marriage is hence wrong; he does not show Pinky ‘choosing’ to not pass (Pinky). This is why Pinky, being a very strong and opinionated character, isn’t convinced with her decision of going back to the south and keeps yearning to go back to Boston (Pinky). This is represented by the constant train whistles that she hears in the background which seem to be calling her back to her life of equality (Pinky). There is even a point, right after she gets molested by the two drunk white males, when she comes back to her grandmother’s house and actually starts packing her suitcase (Pinky, 27:06). When her grandmother questions her decision she says, “I’ve been away a long time. I’ve known another kind of life. I’ve been treated like a human being. Try to understand….. Like an equal” (Pinky, 29:02). The fact that she considers going back to Boston clearly shows her uncertainty towards her reasons for not passing (Pinky). This action isn’t very impactful to the general audience (Pinky). However, it might be interpreted by the modern black audience as way of betraying her identity and community (Pinky).
During the initial period of Pinky’s stay in the south, even though she is battling with the thought of going back, there are still many instances where she ‘chooses’ not to pass as white even though she could easily have done so (Pinky). For instance, when the cops ask her whether she is actually black, she admits it without any hesitation (Pinky, 17:59). Even when the drunk white men mistake her for being white and respectfully ask her whether she was lost, she admits that she actually lives in that part of town without giving a second thought to what the men would do next (Pinky, 24:51). Pinky has the opportunity to pass in both cases to save herself from humiliation and prejudice but chooses not to do so, and rather face the repercussions (Pinky). In this way Kazan portrays another side to Pinky’s decision to not pass (Pinky). This decision is fueled by her sense of identity and a concrete ‘choice’ to not pass (Pinky). The impact of this action is much greater (Pinky). Moreover, this action would be interpreted by the general audience, irrespective of race, as a sign of self-confidence and strength.
Pinky’s decision to not pass as white becomes stronger as she starts taking care of Miss Em (Pinky). It is very ironic that her grandmother, Dicey, who holds so much pride in who she is and absolutely does not condone passing as white, cannot really impact Pinky’s decision to pass (Pinky). On the contrary, as Aunt Dicey constantly shows disapproval towards Pinky’s desire to go back to Boston, Pinky becomes even more determined to return to Tom and her high class life (Pinky). It is actually Miss. Em, the old white lady in the big mansion who Pinky has detained since her childhood, who encourages her to be herself and embrace her true identity (Pinky). Miss Em is blunt and honest with her opinion and tells Pinky that even though she is in a respectable profession, “nobody deserves respect as long as she pretends to be something she isn’t” (Pinky, 42:42). In this manner, Miss Em influences Pinky to really think about the consequences of her decision to pass, and further analyze her purpose in life (Pinky).
Over time, Pinky’s desire to go back to Boston isn’t as strong as it was before (Pinky). Kazan portrays this side of her dilemma perfectly in the scene where Tom comes back with a desire to take Pinky back up North with him after having reaffirmed his feelings for her (Pinky, 50:15). Pinky refuses to go back with him stating that she is working on a case in order to repay a debt (Pinky, 50:36). But shortly before that she keeps saying “I don’t know…” (Pinky, 50:00) as if she isn’t sure about whether running away from who she really is to be with the man she loves is the right thing to do (Pinky). At this point Pinky’s dilemma is more inclined towards her not wanting to pass out of choice rather than out of social disapproval (Pinky).
Once Miss Em passes away, she leaves Pinky her mansion (Pinky). This causes quite a stir in the town and Miss Em’s cousin, Mrs. Wooley files a case against Pinky on the basis of using undue influence on Miss. Em (Pinky). These events reaffirm Pinky’s desire to not pass anymore and moreover, fight for her rights in spite of her race (Pinky). It is evident at this point that class does not matter to her anymore as she can be seen washing clothes with her grandmother to cover the costs of the case (Pinky, 1:17:42). At this point, Pinky is very determined to fight the case, and even Tom cannot phase her when he comes to take her away from the turmoil created by the case (Pinky, 1:18:00). Pinky clearly conveys to Tom that she has no intentions of giving up this fight by saying, “If I should back out now, I’d be letting Miss Em down. I can’t do that. I can’t let her down. I can’t let myself down…… or my people.” (Pinky, 1:19:54). She even goes on to say, “Tom, you can change your name, but I wonder if you can change what you really are inside.” (Pinky, 1:20:06). This statement shows that her identity and beliefs have become her first priority. Pinky goes on to fight the case, and in spite of all the prejudicial hurdles she eventually wins (Pinky, 1:32:42). This causes even more disdain within a community where racial segregation is very prominent though Pinky continues to fight for her cause (Pinky).
While every incident in Pinky’s journey has played a role in her choice to not pass, the true turning point for Pinky is when Tom suggests that they sell the house and move to Denver where Pinky can pass as being white and nobody would ever know the truth (Pinky, 1:36:34). She is absolutely appalled that the man who claims to love her would ask her to give up her identity forever (Pinky, 1:37:24). She tells Tom, “I’m a Negro. I can’t forget it, and I can’t deny it. I can’t pretend to be anything else, and I don’t want to be anything else.” (Pinky, 1:39:08) and asks him to leave for good (Pinky, 1:39:40). After coming such a long way in her journey to find herself she cannot imagine going back to a life of lies (Pinky). Here, Kazan shows that Pinky has understood that passing isn’t the path to a respectable and happy life because it would mean that she would never be able to be true to herself (Pinky).
To Pinky the inheritance of Miss Em’s estate isn’t merely a piece of land, but it is a chance to stand up for herself and her community (Pinky). Moreover, it is a sign that Miss Em truly wants Pinky to embrace who she is and use the academic and professional opportunities that she has been given to make a difference in her community (Pinky). Eventually Pinky turns the house into a clinic and a nursery school named after Miss Em (Pinky, 1:41:02). In this way Pinky finds a way to keep her high class status as a nurse that she has earned through her education but still accept her roots and find happiness in keeping her pride and identity (Pinky). This realization would have a strong impact on the modern audience irrespective of race because it conveys the importance of accepting who you are and living according to your beliefs rather than bowing down to social prejudices (Pinky).

Work Cited
Lonnae O'Neal Parker. "WHITE GIRL?; Cousin Kim is Passing. but Cousin Lonnae Doesn't
Want to Let Her Go." The Washington Post: F01. Aug 08 1999. ProQuest. Web. 19 Feb. 2015.<http://search.proquest.com.ezp.bentley.edu/pqcentral/docview/408518477/BA4A35BFFDDB4125PQ/2?accountid=8576>.
Pinky. Dir. Elia Kazan Perf. Jeanne Crain, Ethel Barrymore, Ethel Waters. Twentieth Century Fox Film Corporation, 1949. DVD.