I don't have all the words right now but this film is a work of art.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

After the War, Hollywood and Americans in general were Feeling quite Proud. Recognizing the "Group" Effort it took to Defeat the Axis Powers, felt that it was time to address some of the Nation's "Sins".This Idealistic Persona that the United States experienced was Short Lived. As the 1950's emerged America, once again, became Insecure, Paranoid, and started Lashing Out at anything and anyone who was "Different", Racially, Philosophically, Politically, Culturally.So this Type of Film was Quickly Abandoned for about a Decade. It's obvious Cousin, "To Kill a Mockingbird", wouldn't be made until 1962. "Pinky" was a Product of that Initial Post War Optimism and Freedom from Winning the War.Jeanne Crain, a White Actress, Cast to Portray a Negro that could "Pass for White", gets a lot of ink because of the "Cross Casting". This was Inevitable and would not and could not have been done Any Other Way. An On Screen "Kiss" and Heated Romance between a Black Woman and White Man would have caused "Riots".The Film is Best when it Exposes the "True Life" Prejudices in small Scenes that Pepper the Picture as it Unfolds the "Bigger" Story. The Slapping Down, Near Rape, N-Word and the General Store, are examples. The Courtroom Scene is an example of the "Big Picture" of the Story and the Ending is part of that Aforementioned Optimism and National Pride. Unfortunately the Nation, Hollywood and the Liberals would have to wait 15 Years for the Tide to Change. That Tide is Still Wavering Today.Note…Ethel Waters as "Granny", Jeanne Crain, and Ethel Barrymore were Oscar Nominees.

One of the reviewers (Kara Dahl Russell) on this page really shocked me : "There is a reason that "she's passing" became an understood term. Very light skinned women & men in the early part of the 1900s DID try to do what Pinky here does." No, actually she doesn't. She left her small town, and I get the feeling it was unintended on her part. She was young when Granny Dicey sent her to school, and she merely accepted what was given without understanding. She had the opportunity, but Patricia went to jail defending her heritage.I really enjoyed this movie. It is another reflection of it's time, and I was surprised at it's frankness and relativity today, especially in these times with a black president who is more racist than even the characters in this 1949 classic. I'm white, and was born in 1958 and grew up during the era of civil rights. I often was challenged by the racism of the day that was accepted and shared among my peers and society at large, but at a young age I objected to it. This movie is surprising to me now in it's treatment of white and black America even more relevant than the 'politically correct' exploitation that exists today with it's rewrite of racism's history, and foisting the guilt of America's past sins onto me.Jeanne Crain was wonderful as the light skinned 'negro' title character, which must have been very controversial in it's day for a white woman. She still gave a tremendous performance, and her race seemed unimportant. Race was a strange fruit in those days, and Hollywood was still Hollywood; a weird animal trying to please everyone, even the racism of the era.The movie easily helped to tame the animal somewhat.Ethel Waters always impresses me in everything she did, a true star, and a strong woman, but a world worn character here, but as Aunt Deedee a grounded, straightforward, woman of conviction. If Sydney Poitier earned respect as a black actor, Ethel Waters certainly paved his way.Ethel Barrymore, whose character I didn't take to at first was perfect. She was a stalwart actress who knew I'd object to Miss. Em, but she was right in her judgments, and acted on her convictions. This film really has me rooting for all the right people, and Miss Em was no exception.I was struck by the PC culture censoring the word 'colored' in this 1949 film, but allows 'negro' ( I laughed as I winced), especially when today's generation uses much more objective terminology. Elia Kazan and the script didn't rely on stereotypes here. It occurred to me while watching it, that if you removed the actors colors, it would still address the issue effectively. THIS is an important movie. I was impressed with it's transparency addressing the relationship between Pinky and her fiancée's acceptance of her heritage. Yup, put it right up there with 'To Kill A Mockingbird', 'Driving Miss Daisy','Mississippi Burning', and 'The Jackie Robinson Story'. I can't wait to see this again.

Many movies do not hold up over the years, regardless of how well they are made, due to the times changing. But this movie tries too hard...it wants to be ground-breaking but does not want to offend the whites who are harboring their prejudices, so they try to please everyone, racist and liberals, and it comes off as entirely phony. Why make this movie at all, if you are going to cater to the racists in the end? Pinky is not a very sympathetic character and her doctor boyfriend even less so. He wants her, even after finding out she is part black, but only if she goes back to pretending she isn't. But of course, they can't end up together, because the audiences of the day wouldn't stand for it, even though the actors are both clearly white.I know the studios had to pander to the ridiculous censorship code, but I think they would have been better off not making films that so clearly are hamstrung by the "rules" of the code.Hollywood made some ridiculous movies over the years, with various white actors playing Pacific Islanders or Asians for part of the movie, only to later "discover" that they were really white, so they could have the white hero in the end. This is a kind of reverse, but comes off just as phony and stilted.Some of the acting is fine, but the script is so leaden, it hardly matters. And Jeanne Crain delivers too many of her lines from between clenched teeth in an effort to appear taut and simmering. It just looks stiff. She must know how ridiculous her casting was.I also know movie-goers of the day were used to the phony sets, but they play better in some movies than in others. This one looks as fake as can be the whole time.

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 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.