One of a number of films released in 1949 dealing with "the Negro problem," Elia Kazan's Pinky broke new ground with a number of harshly realistic episodes-depicting white male harassment of black women, and the double standard that justice pursues-but its overall effect was considerably blunted by a final acceptance of the "tragedy" of race. The story concerns a fair-skinned black nurse, played by Jeanne Crain, a white actress known for her all-American roles, who, after passing for white in Boston, returns to her home in the South and becomes involved with a white doctor. Pinky's interracial romance was unique to the screen. However, the film's insistence that its heroine sacrifice personal happiness for her Black identity negated the implied threat of her union with the Bostonian doctor. Compromises aside, where Pinky shone through with brilliance was in Ethel Waters' moving portrayal of Aunt Dicey. This gifted actress brought ambiguity and breadth to a role traditionally reduced to the monochromatic "mammy." John Ford, originally hired to direct, was soon replaced by Elia Kazan after arguments erupted over the handling of Pinky's endearing aunt.