O Último Vice-Rei

This is a slightly 'potted' version of the events of 1947 when Lord Louis Mountbatten was sent to Delhi to preside over India's transition from unruly colony to full Independence. Mountbatten and Nehru wanted a single nation of two faiths, but Whitehall - for reasons which the movie attempts to explain, briefly and simplistically - preferred the option of Partition, creating the new Muslim nation of Pakistan, with a down-sized India populated mostly by Hindus. As we know from our schooldays - and other (better) movies like Richard Attenborough's GANDHI - millions of citizens died in clashes and massacres as Muslims migrated to Pakistan and Hindus to India. This new movie chooses to show the carnage of Partition via newsreels rather than reenactments.

Gillian Anderson gives a vivid portrayal of Lady Edwina Mountbatten, terribly 'posh' but genuinely concerned for the displaced natives during the violent transition. Hugh Bonneville, still trapped in his Downtown Abbey character, is rather wooden as Lord 'Dickie' (who was probably a bit wooden too). There is no hint of the much-gossiped- about affair between Lady M and Mr Nehru and likewise no hint that his lordship may have been an acquaintance (if not quite a Friend) of Dorothy. We see enough of Nehru and Jinnah to understand what was at stake in 1947 but for some reason Gandhi is largely written out of this screenplay.

To give the movie a bit more box-office appeal there is a Mills & Boon romance between two of the staff in the Viceroy's House, a beautiful Muslim secretary and a Hindu valet (also rather lovely). This soap-opera element brings unavoidable echoes of the (enormously superior) Jewel in the Crown and a dash of Upstairs, Downstairs which was one of the many addictive pleasures of Downton.

There's not a lot that's wrong with Viceroy's House and much to enjoy: the costumes, the spectacle, the splendour that is colonial Delhi. The movie does offer a 'History-lite' version of the birth of a nation. I remind myself that this is exactly what GONE WITH THE WIND did with the American Civil War - but (forgive me, please) I've never been a great admirer of GWTW.

Maybe, I am not fair. But , more than a decent film , it represents for me, nothing more or less. It is a good introduction to one of the most siignificant events after the end of WWII. It is a good example of beautiful performances and inspired script. But the mixture between political problems and the love story of a Hindi young man and his Muslim girlfriend it seems, for me, a mistake, used for give more force to dramatic side. It is a touching film and that is the result of the final confession of director but , the high desire to impress is, in few scenes, too much. Sure, it is a film for see. A moral lesson about a century more than about a country. But, something is missing and something is too more. Conclusion - a decent film about dramatic events.

Honestly looking at the trailer, I was expecting a story that was made for TV but attempted to be bold enough to grace the big screen. I couldn't be anymore wrong. The last viceroy of India is tasked with leading the country before its eventual independence which soon turns into a communal massacre. The Partition of India back in 1947 is an important moment of modern history where this drama serves as a reminder of the monumental loss during the nationwide migration. Over one million souls lost their lives during the violent conflict between Muslims and Hindus, with many families being torn apart through abrupt segregation. Given that the director was the granddaughter of a survivor, there is a personal touch to the melodrama that unfolds. From simple quibbling of deciding which food items, people and furniture remain in India or are sent to Pakistan to the more serious issues of rationing supplies to refugee camps. Chadha deftly embeds the culture of India to the heartbreaking partitioning process, allowing the balance for historical importance and a fictitious romance to coincide together. The latter sub-plot, resembling a 'Romeo & Juliet' scenario, seemed to be the primary focus of the first act which unfortunately detracted from the main and far superior plot of India's independence. However the story gets back on track during the second half which quickly grabs your attention back. Bonneville and Anderson gave satisfactory performances, although occasionally lacked emotional conviction. Also the melodrama became too excessive at times, trying too hard to make you tear up. Credit where credit is due though, I did shed a tear towards the end which was certainly the most poignant act of the entire film. I do love a good "running through the crowd" scene. A slightly uneven start irons itself out towards the end to produce a sumptuous and important historical drama that will leave you reaching for the tissues by its conclusion. Atleast I know what a viceroy is now...

Beautifully made movie with two main story lines: a political-world- line, and a very personal-love-line. Somehow it was so true about how life IS or CAN BE that it moved me and touched my heart deeply. Besides: Great actors (good casting!) and very beautifully spoken language. Whoever spoke was so good at it! (I'm into voices for my profession).The movie is a blueprint-story for all countries that have suffered and had profits from countries that were their 'masters'. It also shows that there are all sorts of 'masters'. Besides, that it's time to become brothers and sisters. the other storyline makes clear that LOVE can be something very special, especially when you live in between millions of countrymen and there's all kind of wars going on.The director points it out very clearly!!Good for her, because this could have ruined the movie, but it somehow didn't. GO!!

"Our time frame for leaving won't work!" Lady Mountbatten (Gillian Anderson)

Some would say the final partition of India creating Pakistan never worked, albeit a solution to the violence between Muslims, Hindus, and Sikhs was needed with the pending quitting of Britain from rule in 1947. The historical and humane Viceroy's House takes us nimbly yet sometimes brutally through the Solomon-like assignment of Lord Mountbatten (Hugh Bonneville) to bring peace and partition.

Although this fascinating film could be accused of being more Masterpiece Theater than history, it brings home in the best period-piece fashion the almost insoluble task of stopping the fighting among factions and fairly apportioning the sub-continent. Mahatma Gandhi's (Neeraj Kabi) opposition, as he favored a unified continent, was the counterbalance to the raw pain of partition but unrealistic given the prevailing hostilities. The film does not oppressively dwell on the philosophy or the brutality: They are just there as if they always were.

Helping the transition is A. R. Rahman's musical score appropriately classical and grave at times and then lightly Indian as the time draws near. Viceroy's House has a workman-like period piece feel to it. It also has a soap-opera like romance between Muslim Aalia (Huma Qureshi) and Hindu Jeet (Manish Dayal), an attempt to provide a figurative representation of the cultural clashes borne of tradition and the impending upending with Britain's leaving.

The spiritual presence of Churchill, who ended up being the actual architect of the partition, left an independent Mountbatten to come to Churchill's solution without even knowing about it. The various bloody factions are well-perceived as unavoidable given the massive population and the complex challenges of partition.

The oil and coastal-protecting motives are there in muted acknowledgment of the inevitable political background of the largest mass movement of human beings in history. Here is a history worth knowing if only to clarify the prevailing hostility between India and Pakistan and the allure Pakistan has for trouble-prone world powers.

If for nothing else, enjoy the period costumes and settings. Downton Abbey would approve.