La route des Indes

My interest in caves led me to watch this film. A small, but pivotal, part of the film's plot centers on what happens at the Marabar Caves. While the cave segment was a disappointment to me, I was pleasantly surprised by the film as a whole. It was not the grandiose, pretentious cinematic epic I had feared.

"A Passage To India" tells the story of a young British woman and her elderly traveling companion who journey from England to India, at a time when the British still ruled that country. The film's theme centers on British attitudes toward the people of India. Those attitudes can be summarized as: condescending, snobbish, and racist. It was the English vision of cultural superiority over the Indian people that E.M Forster wrote about in his 1924 novel, upon which the screenplay is based. That cultural vision represents a bygone, imperial era that today seems quaint.

The cinematography here is excellent, though perhaps not quite as sweeping or majestic as in some of Director Lean's previous films. What comes through in the visuals is India's spectacular scenery. The film's acting is competent. And I liked the film's original score.

My main complaint is the film's length. It's a two-hour story stretched to fill almost three hours. I would have cut out most, or all, of the crowd and mob scenes because they are not needed, and because they infuse the film with a "cast of thousands" aura that moves the film implicitly in the direction of epic status. Even as is, the film is sufficiently low-key and personal to be enjoyable.

Beautifully filmed, David Lean's 'A Passage to India' adapted from E.M. Forster's novel is a visually splendid. The visuals themselves are quite simplistic and yet the way they are portrayed is remarkable. It excellently captures the enigma and raw beauty of the Indian landscape which is exactly how Adela and Mrs. Moore see it.

'A Passage to India' quite epic. Yet, it doesn't look like any other typical Hollywood epic feature and I think that's mainly due to Lean's effective and efficient use of his tools. It's as if the country itself is enough to make it look epic. It is this mysterious country that seduces Adela and drives her over the edge. Lean uses plenty of silence. While much of the dialogue is brilliantly written, it is the quieter moments and glimpses between the words that stand out.

Peggy Ashcroft, Judy Davis, James Fox and Victor Bannerjee are outstanding as they deliver sincere and subtle performances. Even tough there have been complaints about the film's length, I thought the editing was great and I liked that Lean took his time rather than rush in telling the story. The score is minimally used. Lighting is terrific and sound is very good.

In the end, 'A Passage to India' is exotic and sensual without the need to show a skin or sex, poetic without words and haunting without the usual thriller ingredients.

Never mind whether or not it's as good as "The Bridge on the River Kwai", "Lawrence of Arabia", "Doctor Zhivago", et al.; the point is, it's a great film that was clearly made by the same David Lean that made the earlier masterpieces.

The stuff that usually gets dismissed with a wave of the hand - the art direction, the music (Maurice Jarre reserved his best scores for David Lean, although there's less music here than there usually is), the photography, the editing, the indefinable assuredness of narrative flow - everything that makes up the heart and soul of cinema, in fact - is as marvellous as ever. It's amazing enough when you consider that this was Lean's first film in fourteen years. More astonishing is that it was the first film on which he's credited as editor in forty-two years. Forty-two years earlier, he was working for Michael Powell (the only other British director as good as Lean), who considered him the best editor in the world; and while Lean's wielding the scissors again after all that time may have made very little difference to his overall style, I still think there's something special - even more special than usual - about the way "A Passage to India" flows. Maybe it's that Lean adapted the screenplay, then shot it, then cut it himself, but he has such an strong feel for the pulse of the story, such an unerring feel for what follows from what, that even the several jump cuts - jump cuts are usually the most ugly, the most offensively flashy, and the most intrusive of all cinematic devices - are beautiful, natural, even classical. In a way you don't notice that they're there.

I've never heard it said that two-time collaborators Powell and Lean have much in common - and they don't. But of all David Lean's creations this one comes closest to being like a Powell and Pressburger picture. There's an element of mysticism (threatening as well as comforting) darting in and out of the story with such fleetness and subtlety that it's hard to tell when it's there and when it's not; and, of course, the incident at the caves (explained exactly as much as it needs to be, and no more) could as easily have come from one of Pressburger's scripts as from Forster's novel. If you've seen "Black Narcissus", admittedly a very different kind of film, you don't need me to draw attention to the points of similarity.

Lean's imagery may be less openly bizarre than Powell's but the effect can be much the same. "A Passage to India", although it lacks the beauty of the films of the three Lean films shot by Freddie Young, contains Lean's most disturbingly powerful shots, yet they're of such things as these: monkeys (echoed later on in the film by a startling shot of a man dressed like a monkey - actually, that IS the kind of thing I can see Powell doing), someone clutching her hand to her chest, the moon, the first raindrops of a storm hitting a dirty window pane, even water - simple cutaway shots of nothing but moonlit water.

I haven't read the book, but I do know that if you HAVE to have read the book to see what's wrong with the film, why, then, there's nothing wrong with it. I don't know how much of the book has been lost in the translation but I do know that if too much has been lost to make a rich and powerful film, then whatever has been lost has been more than adequately replaced.

David Lean ended his illustrious career on a high note with this haunting love song to the exotic & sensual world of India.

The action takes place during the last days of England's rule over colonial England. Much of the emphasis in the movie is placed on the culture clash between the two countrys.

Judy Davis stars in one of her earliest films as a woman who travels to India on what she imagines will be a romantic adventure to meet up with and marry a waiting fiance.

The great Dame Peggy Ashcroft portrays the fiance's mother who accompanies Davis on her "Passage To India".

Alec Guiness is along for the ride in a culture-bending role as a Hindu spiritual man. Guiness's role is in turn played for laughs then for dramatic punch when needed.

The major conflict in the movies arrives from an ill fated tourist jaunt to the Marabar Caves some miles away.

What does or does not happen there becomes a legal and moral crisis that involves all the film's key players as well as the entire city.

The movie is played with sensitivity as well as allowing for the usual David Lean broad strokes of color and light.

It's one of my favorite movies and definitely appealing to more than the "Merchant & Ivory" crowd.

In 1885 Lord Macaulay in very planned way introduced English as an official language of India, a plan equally dangerous like thousand years of third Reich in Europe. Macaulay himself explained during a speech in Kolkata in 1885 that "I have travelled across the length and breadth of India and I have not seen one person who is a beggar, who is a thief. He added "with such a high moral, spiritual cultural heritage and ancient Aryan education system (Language Sanskrit) I do not think we would ever conquer this country, unless we break the very backbone of education system of this nation.

However Macaulay's language experiment resulted very strange. It not only fractured the complex Indian society but divided the schools of thought into fraction. In movie Dr.Aziz symbolically represents the agonised face of so called modern educated Indians.

The director of this movie is very talented person who exactly know this problem. Now what exactly happening in the movie is a British young woman fascinated with ideas of elephants, snakes, tropical forests and mysteries is travelling across India. Moreover she is young and deep inside she is contemplating the true meaning of love. While in India she meets Dr. Aziz who on other hand is a product of Macaulay's language experiment. Dr Aziz is an educated person who has nothing to with Indian national movement (background is of decade of 20's) or in other words he is a simple nice Muslim man who do his job, earn comparatively better than other poor Indians and has a good social status in the local community. However he remains depressed with the surrounding atmosphere which is full of dirt, poor people etc. Symbolically he is a face of new crop who thinks and if given a chance, act like elite English. Unfortunately since he is just an average person and not an intellectual, he can not see that a British who is a foreigner in his country do not see any difference between him and other poor. He works hard and do not miss any opportunity to proof that their is a difference and it exist.

Movie reaches to the height of climax when Dr. Aziz gets an opportunity to take Ms Quested to an excursion to Malabar caves. And then comes the most beautiful, suspenseful and artistic scene of the movie. For few moment in that silent lazy afternoon, Ms Quested learn during an exceptional personal interaction (An interaction which was not supposed to be happened between an Indian and a English) about Dr. Aziz's love for his wife who died few years back. Already hypnotised and surprised with the Indian culture she gets locked with a strange feeling when she learn that Dr, Aziz never saw his wife before getting married. Back to her life she never imagined if being in love/marriage with someone whom you have never seen was possible. After all due to her basic human tendency, she for a fraction of moment imagined Dr. Aziz as a perfect man. Her extreme imagination takes her to indefinite trauma and suddenly everything looks ugly, horrible, dark and hopeless. Now gushed with guilt feeling she can not justify her imaginations in a real world.

In case of Dr. Aziz he is again in a gloomy world because Ms Quested without giving any notice is now out of his reach. An innocent human to human interaction becomes a case of racial dominance & national extremism.

Fanatic Indians have coloured it with Indian national moment whereas British are convinced that Indians doesn't matter educated or uneducated are on same line. Ironically Dr. Aziz who is surprised, frustrated due to silence of Miss Quested is no longer an old simple man. He too now believes that English are corrupting his country. Ms. Nobody knows the internal truth.