A Passage to India

This brilliant and atmospheric adaptation of the EM Forster classic is one of the great works of cinema. Nuanced, delicate, sultry, terrifying, brutal, gorgeous, resplendent. The work belongs to the staggering (yet here subtle) genius of Judy Davis as Adele Quested. Backed by enthralling performances by Peggy Ashcroft, Victor Banerjee, Alec Guinness, and James Fox, the film resonates more today than ever. A symphonic study in the harrowing collision of colonial England and the exotic East of India, it remains a cinematic work of splendor. EM Forster, of course, deserves every credit. How he managed to survive a troubled life and create magnificence is a mystery. Judy Davis … please, one of the ten greatest thespians to have ever existed.

Fantastic movie about British-occupied India in the 1920s. It starts off with two ladies; one young and one mature, embarking on a trip to India for a visit. Once there it dives into the racial tension between the British and Indians with both ladies not believing what they are witnessing from their British contemporaries. As it goes along, things take a serious turn with an accusation of impropriety and tensions boil over. The soundtrack is hauntingly beautiful, the period costumes are gorgeous and the acting is stellar. Don't take my word for it, check it out! Actors include; Sir Alec Guinness, Dame Peggy Ashcroft, James Fox, Nigel Havers and Judy Davis.

On the whole this is a fine adaptation of the novel. The casting is superb, especially Ashcroft as Mrs. Moore, Davis as Adela, and Bannerjee as Dr. Aziz. A skin-darkened Alec Guinness manages just barely to avoid being ridiculous, playing the role of a Hindu philosopher. Why David Lean couldn't have found an actual Hindu from India for the part is bizarre. Did his friend Guinness really need a job that badly? A few of the minor roles...such as Mrs. Turton...seem like caricatures. The cinematography, sound, and editing are excellent, especially in the crucial courtroom scene. I do wonder why Lean left out the part (in the novel) where the English in the courtroom are ordered by the Indian magistrate to step down from the elevated platform. Dramatic, darkly comic, and significant! A brief recreation of the Viceroy's return to India from abroad is unexpectedly stirring...makes you appreciate the immense task the British had taken upon themselves in ruling a subcontinent. Interactions between English and Indian are handled with insight, criticism, and sympathy for both sides...just as in the novel. My main complaint is with what seems to me a minor distortion of Forster's intent. In the novel there's no indication that Adela is particularly prudish about sex. Indeed she re-establishes her engagement to Ronny after an auto accident brings them together in a way that rekindles normal physical intimacy between the two young people. Lean replaces this crucial episode with an invention of his own: Adela's stumbling upon erotic statuary in a ruined, deserted temple, after which she hurries back to Ronny in a kind of sexual panic. This seems to have been inserted to make it plain as day that poor Adela is "repressed"---and that her conflicted feelings about sex and love find an outlet in the handsome Dr. Aziz, whom she imagined attacked her in the cave because that's what she "unconsciously" wanted to happen. Forster's handling of the "mystery of the caves" is more subtle and enigmatic. Finally, the ending, when Aziz reunites with his friend Fielding (the latter accompanied by a rather featureless new wife who speaks never a word!) seems emotionally flat and contrived (Just as in the novel, Aziz's misunderstanding of Fielding's marriage is far fetched. ) Overall, a memorable and beautifully crafted film that falls short of perfection.

Not just some Raj novel about colonialism and love affairs. There is a mystic force in the story controlling events. This feature to someextent can be felt inForster’s other novels but here it is in full mysterious force. Forster once saidthat it can’t be anovel withoit a love story. Butit isalmost always a feature ofsome other story he wants to tell. Here it lies inthe subonscious. Thecharacters are few and come alive vividly on the pages. It is worth seeingthe ravishing film after reading the book but first read the book first.

In his brilliant exploration of the question he ultimately posed in HOWARDS END (who shall inherit England?), E. M. Forster gifted us with A PASSAGE TO INDIA. The novel, and the movie, provide deceptively simple characters to carry Forster's views along...the arrogance of a British-dominated culture meddling where it once again does not belong; the impossible melding of certain classes and/or temperaments; and the ultimate sacrifice or tragedy that must occur in order for the madness to cease. Into the mix Forster adds (as he did with Ruth Wilcox in HOWARDS END) the mysterious female entity (the enigmatic Mrs Moore) who seems to be in touch with all elements, earthly and spiritual. Director David Lean could not have done better in casting Dame Peggy Ashcroft as this luminous woman; she becomes the movie's triumphant center, its moral conscience and all-seeing eyes, and at the same time leaves us with one of the most memorable performances in recent cinema. Excellent support also comes from the brilliant Judy Davis (in a nearly impossible part to play, Davis succeeds almost frighteningly well) as the hysterical Miss Quested, dashing Victor Banerjee as the harried Dr Aziz, and James Fox as the character caught between two clashing worlds (much the same way Margaret Schlegel was in HOWARDS END). David Lean has created so many memorable films and setpieces it seems almost redundant to objectify them, but let it be said the sequence here with the visit to the ominous Marabar Caves is one of his best--beautifully choreographed, perfectly timed, and with just enough mystery to inspire as much discussion as the novel. How often does that happen? It may not be a rousing action epic, but it will leave the discerning viewer with much to think about and should inspire several viewings to take in all the levels of meaning. A most rewarding film experience.

Saw this movie years ago, and bought the dvd recently to revive my memories. it is a classy movie.

First off a few words about the DVD I purchased: Picture and sound quality are very nice, and English (as well as numerous foreign language) subtitles are available. Also dubbed audio versions in French and Spanish. By way of extras there is only a trailer. The run time of the film on the DVD is 2 hours 37 mins (which is 157 mins and not the 197 mins advertised in the product description - which latter is likely an error since the original release of the film was ever only 164 mins). The story of the two British ladies travelling to India during the waning days of the Raj in probably not to everybody's taste with the prejudices and instances of racism involved. Even more problematic is the accusation of alleged rape by the young Englishwoman against her Indian guide. Thankfully, the outcome of the ensuing trial and Victor Banerjee's big scene at this point in the film are so beautifully played out and captured by the camera, that this is what is most remembered after watching the film. At least, that's what I remembered most some thirty years after first seeing this film in the cinema. Having bought the DVD and revisited the film for the first time this many years later, I must say that I struggled with parts of the story. Technically, the film is excellent. Another example of David Lean's talent and craftsmanship as a director. Also, the acting is first class all round. I loved Peggy Ashcroft, admired Judy Davis for her flawless performance as a character I thoroughly disliked on this second watching, will never cease to admire Alec Guinness, simply adored Victor Banerjee and was delighted to see the young Nigel Havers. Also worth mentioning is the Maurice Jarre score which is rather nice. Not quite up there with the ones for Lawrence of Arabia or Doctor Zhivago though. Good film with beautiful cinematography and stunnning Indian locations , but one that will make you think and possibly (hopefully) make you feel uncomfortable at times. Not light entertainment.

Si ce film est extraordinaire de par la majesté et la beauté des paysages, ce qui est encore plus stupéfiant, c'est que les Indiens aient pu supporter si longtemps leurs "envahisseurs" britanniques. Comment imaginer à l'heure actuelle que l'on puisse être traité avec une tolérance condescendante ou, dans le pire des cas, avec une impolitesse crasse, et ce dans son propre pays! Les personnages de ce film sont sans doute un peu caricaturaux, mais remarquablement joués. Qu'il s'agisse de la douce Mrs Moore (Peggy Ashcroft), amicale et ouverte à ce monde si nouveau, au prodigieux Dr Sahib (Victor Banerjee), en Indien à la fois attiré et repoussé par ce monde occidental, en passant par celle par qui le scandale arrive: Miss Quested (Judy Davis) , vieille fille montée en graine et tourmentée par ses sens, ce film nous montre l'époque coloniale sous un éclairage brutal et sans concession. Le choix de Sir Alec Guinesss, so british, pour le rôle d'un philosophe brahmane est assez étrange mais il se coule avec bonheur dans ce personnage. Quant à l'excellent Mr Fielding (James Fox), il donne, dans le retournement de situation de la fin, la mesure de son talent....Une vraie réussite dont j'ai apprécié chaque image!

Bellissimo film, ricco di avventure, ma anche molto interessante per quanto riguarda i rapporti tra indiani, anglo-indiani e inglesi, conseguenza del colonialismo britannico. Fa meditare molto. D'altra parte, il regista è David Lean e scusate se è poco. Bravissimi anche tutti gli attori. Tecnicamente buono: immagini splendide. L'ho cercato per molto tempo: la Rai, parecchi anni fa, l'aveva trasmesso, poi nulla. Il film segue abbastanza fedelmente il romanzo omonimo di Edward M. Foster. Assolutamente da avere, se piacciono questi temi.

Sono anni che cerco questo film,assolutamente introvabile in italiano. Inizio dall'unico appunto che sento di fare a questo splendido affascinante film : le scene aggiunte,come in molti altri casi non solo non aggiungono nulla, ma finiscono per essere di intralcio vedi per esempio il colloquio tra il Prof. Godbole ed in dott. Aziz dopo la conclusione del processo ed altre sequenze nel corso del film,per lo piu' di scarso rilievo.Un altro appunto di carattere tecnico : come mai, essendo il film stato girato in panavision, viene presentato nella versione 1.85 : 1 , che francamente toglie qualcosa alla visione ? Leggo in una recensione che il personaggio interpretato da Alec Guinness e' poco piu' di una macchietta. Sciocchezze.La chiave di interpretazione e', a mio modesto avviso, nella scena delle scimmie dalle quali Adela crede di essere aggredita e che in realta' spariscono nel nulla, probabilmente inesistenti, come non esiste il tentativo di violenza da parte di Aziz nella sequenza delle grotte di Maribor, se non nella mente di Adela sconvolta dal clima surreale dell'India coloniale. Splendida colonna sonora di Maurice Jarre, con sola eccezione dei titoli di coda nei quali assume un carattere di commedia che poco si accorda con la tematica dell'opera. Interpreti superbi, ma perche' Stella sembra una vecchia zitella e non pronuncia una parola ???