À neuf heures de Rama

NINE HOURS TO RAMA distinguishes itself in the category of "historical fiction." While remaining faithful to Stanley Wolpert's novel, it perfectly captures the political tension of post-independence India which led to the murder of Mahatma Gandhi on 30 January 1948.

Nelson Gidding's screenplay eliminates some of the clutter of the novel, limits the flashbacks to the background of the assassin, Nathuram Godse, and maintains a good pace through the painful climax. Director Mark Robson (THE HARDER THEY FALL, VON RYAN'S EXPRESS), with the help of cinematographer Arthur Ibbetson, makes good use of the diverse landscape and people of India. Robson's international leads portray Indians with intelligence and sensitivity, blending expertly with many Indian supporting actors.

In making the transition from an exuberant 18-year old to an embittered fanatic of 30-plus, Horst Buchholz delivers an intense, focused performance as Godse, the real-life killer. Don Borisenko is his partner Apte, plagued by doubt and fear, and straining to reconcile his fateful mission with the tenets of his Hindu faith. The biggest liberty taken with history is the addition of a sophisticated, married woman with whom Godse falls in love, played by the lovely, elegant Valerie Gearon.

Jose Ferrer is superb as the Delhi police inspector desperately trying to prevent the inevitable, but hamstrung by the target himself. His frustration is shared by Harry Andrews, unrecognizable as a Sikh general. Robert Morley is fabulous as the parliamentarian whose hard-headed politics clashes with Gandhi's idealism. The gorgeous Diane Baker plays a prostitute who provides Godse with some much-needed refuge.

By far, the most inspired piece of casting is that of a former teacher, J. S. Casshyap, as Mahatma Gandhi. (Yes, HE is Indian!) His scenes, however brief, are the most startling. His resemblance to the great leader -- face, body, and voice -- is nothing short of remarkable, even more so than Ben Kingsley in the second half of GANDHI. It is one of the many injustices of the film world, that Casshyap was never even nominated for an Oscar for "Best Supporting Actor."

Robson and his crew deserve high praise for their fidelity to the subject matter and the professionalism of its execution, from Saul Bass's chilling opening credits (showing the inner workings of a stopwatch) and Malcolm Arnold's magnificent score, through the costume and production design, all the way to the brilliantly staged and edited assassination sequence. The result is one of the most underrated films of the 1960's.

I am furious that this is not available on VHS or DVD; in fact it should be in the widescreen format! One can only hope that 20th Century Fox will someday rectify the situation.

Though the work behind this film may have been admirable at the time and may have had good intentions, the result now is at best unspectacular and at worst insulting. Some intriguing titles by Saul Bass give way to a pretty pedestrian film. The story is torturously told...featuring the dreaded flashback approach and a gallery of clichéd characters and situations. The cast is a befuddling mixture of British, German, Puerto Rican, American and who knows what all else all shuffling around in dark contact lenses and "brownface" as they attempt to portray Indian people. They all adapt that hokey sing-song method of speaking which is an exaggerated and stereotypical version of how Indians relay the English language. It's worst sin is it's DULLNESS! From the man who would direct "Valley of the Dolls" and "Earthquake", one might have expected a touch more pizazz! The climactic assassination attempt is pretty tense and well handled, but getting there is no picnic.

This is a somewhat fictional account of the assassination of Mahatma Gandhi. The film starts off really well, and has a good climax (unless, of course, you're Gandhi), but it drags a bit in the middle as we learn about the assassin and his motivation. Horst Buchholz plays the killer; oddly, he seems less repulsive than usual, so that's a plus. Jose Ferrer is the policeman trying to track him down. A few British actors show up in small roles. The big revelation to me was the British actress Valerie Gearon, as the upper-class Indian whom Buchholz loves. I hadn't seen her in anything before; she is quite striking. Diane Baker has a small part as an Indian, and is semi-believable. Gandhi is played by J. S. Casshyap, and he certainly looks the part.

It would be great if this existed on DVD with commentary since there are holes in the plot that require explanation. It's probably worth a look, if you can tolerate the flashback sequences.

Despite periodic attempts by his family to rehabilitate him, Natu Ram Ghodse remains **unperson** in India. It is illegal to publish his name or likeness, with the intention of wiping out all memory of the assassin of Mahatma Gandhi.

The astonishing portrayal of the magnicide Ghodse by young Horst Buchholz shows that it is possible on an emotional level to empathize with an unsympathetic character.

The casting probably is the best thing about this picture--that and the exceptional local color of the cinematography. Buchholtz was German born and bred, yet there always was something, well...Asiatic about his looks. Darken his complexion a bit and he makes a convincing Hindu. The most inspired casting of all however was J. S. Casshyap as Gandhi. Casshyap was a university professor, Indian but entirely at home in English, and this was his first film role. His last, too so far as is known. Seeing him bent over a simple spinning wheel really is like seeing the Great Soul himself on the last day of his life.

Many commenters have remarked the effective opening titles but none seem to get the significance of showing the steady unwinding of a watch's mainspring, with driving, rhythmic Indian music in the background. Time...time is passing...time is running out--for Mohandas Gandhi, for India, for the world.

A film which builds up to a climax is spoilt by some unconvincing performances, especially Harry Andrews' Indian Officer and Robert Morley. Despite this, the direction is reasonable and the film worth seeing as there seem so few films about this subject.