flipp525 wrote
The book has much the same take on that scene. It’s never explained exactly how Clare [fill in the blank here to avoid spoilers]. Any one of three scenarios seem possible there. So, in that regard, the direction follows the novella’s approach to the climax.
The film does retain the last line of the book which was inexplicably excised after Larsen’s first edition and then restored in later editions.
Thank you both for this additional context.Mister Tee wrote
If you fully understand the climactic scene, I think you're ahead of where Hall wants you to be. From all I can glean, she wanted it to be totally unclear whether Clare 1) fell 2) was pushed by Skarsgard or 3) was pushed by Thompson.
This, to me, encapsulates my problem with the film. Far more than that scene seems aimed at ambiguity, but for me just produces vagueness, which blocks me out. As you say, there are all those scenes where we see Thomson watching or pondering, but, without narration, we don't know what she's thinking. Is it, I wish Clare had never turned up again, because I envy her ability to pass? -- or because she's stealing my husband? -- or because I'm attracted to her in ways that scare me? You could infer any of these, as you can from any blank slate. But opaqueness doesn't equate to complexity; it can just mean you're not communicating.
I think Passing is a very good example of how books are not films. It's also a good example of how just because it's not a film doesn't mean it shouldn't exist. I'm glad Passing exists. I just don't think I really like it.
But I will say this: I watched Passing early in the morning. By the time daylight crept in, I was straining to make out certain details on my screen. Passing might be the worst film to see in an increasingly sunny room. Perhaps had I seen it in a theater, I might find the ending haunting instead of frustrating.