Passaggio in India

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.

Released in 1985 and directed by David Lean from E.M. Forster's novel, "A Passage to India" is a historical drama/adventure about a young English woman, Adela Quested (Judy Davis), who experiences culture shock when she travels to India circa 1920 to possibly marry her betrothed, a British magistrate (Nigel Havers). Her companion for the sojourn is his mother (Peggy Ashcroft). With a kindly Indian, Dr. Aziz (Victor Banerjee), they take an excursion to the mysterious Marabar Caves. But something strange happens at the caves and Aziz' world is turned upside down when Adela accuses him of a crime. James Fox plays Aziz' English friend while Alec Guinness is on hand as an Indian sage.

This was David Lean's last film and, as far as I'm concerned, it's as great as his other films, like "A Bridge on the River Kwai" (1957), "Lawrence of Arabia" (1962) and "Doctor Zhivago" (1965). To appreciate it you have to favor his epic, realistic, not-everything-spelled-out style.

The movie's about the clash of British arrogance & Victorian propriety with a fascinatingly alien and more wild Indian culture. It's thematically similar to 1993's "Sirens," highlighted by Davis' stunning lead performance and only hampered by Guinness' miscasting as an Indian (but that's a minor cavil).

The film runs 164 minutes and was shot in India.

GRADE: A-

***SPOILER ALERT*** (Don't read further unless you've seen the movie)

The movie goes out of its way to show that Aziz is innocent of attempted rape without spelling it out. So what happened to Adela in the caves? She suffered a panic attack due to culture shock and the mounting apprehension of marrying a prim & proper coldfish she doesn't love. The scratches she suffers are from the cacti she runs into while fleeing the caves. Aziz was her subconscious scapegoat. But, give her credit, she was able to resist immense social pressure, realize the truth, and boldly declare it, despite the negative social ramifications.

I've always loved this film.This film has a lot of truly fascinating character development. Dr. Aziz goes from the kind of easily intimidated and emotionally battered employee that the British must have loved to have as a compliant colonial subject, to a frightened defendant who has had injustice snatch him from his lonely but well-ordered life, to a bitter and empowered man who thinks identifying with the plight of his fellow Indians means he must abandon all friendships with westerners, in particular that of the compassionate Richard Fielding. Sir Alec Guiness plays the minor but important role of Professor Godbole, a man whose beliefs puzzle Fielding. When Aziz has been unjustly accused of raping Adela Quested, a British woman, Fielding wants to mount some kind of campaign, to perform some kind of action on Aziz' behalf. Godbole calmly insists that although he cares about Aziz very much, nothing he or anyone does will matter - the whole thing has been predetermined. This is one of the issues that plays like background music in the film - that of Western views of human action and divine purpose working synergistically versus Eastern views on the same themes - karma versus Christian endeavor. I truly believe 1984 was a year in which the Academy got it right - Amadeus was indeed the best picture. However, this film is a photo-finish second and I highly recommend it.

Steven Spielberg claimed his greatest inspiration in becoming a director was Sir David Lean. In motivating him in making a film, a Lean epic would lift his spirits and inspire ideas. Evidence of his marks of appreciations are in famous Indiana Jones shots, an eye for breathtaking vistas - Empire Of The Sun being most evident (which was originally a David Lean project). The legendary British director, who's larger than life approach to film exhilarated audiences around the globe with immortal classics as 'The Bridge On The River Kwai', 'Lawrence Of Arabia' and 'Doctor Zhivago', made an unexpected return in 1984, 22 years following the last epic with one of the most mythically dream like productions ever to grace the silver screen. He took us on a journey to picturesque India with his trademark scope in crisp cinematography which filled our lungs with the most breathtaking scenery. The new generation must rediscover the works of this great human being who bestowed upon us some of the most memorable, fantastic, larger than life epic experiences that have inspired countless directors in their work. 'A Passage To India' is no exception. It is a heart-wrenching, nightmarishly beautiful film, at the same time so dream like, it transports you to another world that penetrates through the spirit of self discovery.

Reminiscent of a famous Australian film "Picnic At Hanging Rock" containing similar themes, a masterpiece directed by the poetic film maker Peter Weir, this powerful entry is one of the most memorable films of the 1980's.

The film follows the intersection of two unlikely people, English lady Ms. Adela Quested (Judy Davis) and an Indian man Dr. Aziz (Victor Banerjee) during India's British rule in the roaring twenties. It is Adela's first time out of England as she is on her way to visit India to meet her fiancé who's a judge in colonial British territory. Accompanying her is her friend and future mother in law Mrs. Moore (Peggy Ashcroft) who shares common interests with Adela in wanting to see real India - in experiencing the countryside and meeting real Indians. To their astonishment however, they soon realize that the occupying English populace aren't as enthusiastic about the idea of making close contact with these everyday Indians, believing India is best experienced at a distance. But to Adela's hesitation to her surroundings, she insists on organizing an expedition for sight-seeing. Her new found friend and school teacher Richard Fielding (James Fox) assembles a group of well-read, knowledgeable Indians to guide them throughout the expedition, composing Professor Godbole (Alec Guiness) and Dr. Aziz (who by chance acquainted himself with Mrs. Moore the previous night). It isn't long before Adela and Aziz begin to explore interests in one another, but in an untouched natural overwhelming utopia that is India, what happens to Adela in a mystical cave far from home ends as a controversy that threatens to tear Indian/British relations into chaos.

The film explores the themes of repression, illusion, racism, tolerance, forgiveness, self-discovery and justice all piled up into an unforgettable symbolically and visually breathtaking masterpiece.

What we have here is one of the most emotionally engaging character studies in film history. The film's setting is genius in portraying self discovery in an unfamiliar place far from home. Like in 'Picnic At Hanging Rock', there is strong emphasis on repression and loss of place and time, creating a most delusional reality. Most importantly, it points out the political oppression to perfection, clearly showing English attitudes toward the very people they invaded. Human nature is the film's primary focus. Adele Quested and Dr. Aziz both learn important lessons the hard way, but never-the-less become stronger human beings.

This almost mythical film absolutely drew me into this world David Lean so brilliantly brought to the screen. One of the films greatest highlights was the moving, magical, subtle and haunting score composed by legendary Maurice Jarre. It influenced the film's atmosphere so vividly, it fascinates every time I hear it. The cinematography came as no surprise to me and this is David Lean at his indisputable best. I was left grasping for air following the film's poignant conclusion. You feel almost like you're there every time. He is the master at creating an unforgettable atmosphere on an epic scale. This film was literally like a Passage To India.

The cast was expertly selected. Judy Davis is perhaps one the greatest actresses that ever walked into a film set. Her commanding physical presence extracts such unforgettable performances, it leaves people in awe of her talent. Her portrayal of Adela is extremely realistic and you feel her emotions with such power. James Fox turns in a very convincing performance as the man who stands for justice, for those who can't gain it. Alec Guiness is arguably out of place as an Indian scholar, but I believe he brought a nice touch to the film - he is one of the greatest actors in the world. Besides, his role wasn't big enough to criticize. Peggy Ashcroft gave in a marvelous performance of a woman who sees the injustices only too well and can't stand the fact that little is being done to compromise.

Everything about this film suggests it is the makings of a true artist. And everything about this film suggests that David Lean was a perfectionist who never lost his touch. It is easily one of the most beautiful, haunting, mystical and awe inspiring films ever made. I recommend it to anybody who loves film and better yet, to whoever hasn't seen a David Lean film before. This is the perfect place to start.

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.