| Photos (see all 17 | slideshow) | Videos (see all 2 videos ) |
| Judy Davis | ... | Adela Quested | |
| Victor Banerjee | ... | Dr. Aziz H. Ahmed | |
| Peggy Ashcroft | ... | Mrs. Moore | |
| James Fox | ... | Richard Fielding | |
| Alec Guinness | ... | Professor Godbole | |
| Nigel Havers | ... | Ronny Heaslop | |
| Richard Wilson | ... | Turton | |
| Antonia Pemberton | ... | Mrs. Turton | |
| Michael Culver | ... | Major McBryde | |
| Art Malik | ... | Ali | |
| Saeed Jaffrey | ... | Advocate Hamidullah | |
| Clive Swift | ... | Major Callendar | |
| Ann Firbank | ... | Mrs. Callendar | |
| Roshan Seth | ... | Advocate Amrit Rao | |
| Sandra Hotz | ... | Stella | |
| Rashid Karapiet | ... | Das | |
| H.S. Krishnamurthy | ... | Hassan | |
| Ishaq Bux | ... | Salim | |
| Moti Makan | ... | Guide | |
| Mohammed Ashiq | ... | Haq | |
| Phyllis Bose | ... | Mrs. Leslie | |
| Sally Kinghorn | ... | Ingenue (as Sally Kinghorne) | |
| Paul Anil | ... | Clerk of the Court | |
| Z.H. Khan | ... | Dr. Panna Lal | |
| Ashok Mandanna | ... | Anthony | |
| Dina Pathak | ... | Begum Hamidullah | |
| Adam Blackwood | ... | Mr. Hadley | |
| Mellan Mitchell | ... | Indian Businessman | |
| Peter Hughes | ... | P & O manager | |
| rest of cast listed alphabetically: | |||
| John Michie | ... | Bit Part (uncredited) | |
Directed by | |||
| David Lean | |||
Writing credits | ||
| E.M. Forster | (novel) | |
| Santha Rama Rau | (play) | |
| David Lean | (screenplay) | |
Produced by | |||
| John Brabourne | .... | producer | |
| Richard B. Goodwin | .... | producer (as Richard Goodwin) | |
| John Heyman | .... | executive producer | |
| Edward Sands | .... | executive producer | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Ernest Day | (director of photography) | ||
Film Editing by | |||
| David Lean | |||
Casting by | |||
| Priscilla John | |||
Production Design by | |||
| John Box | |||
| Herbert Westbrook | (uncredited) | ||
Art Direction by | |||
| Cliff Robinson | (as Clifford Robinson) | ||
| Leslie Tomkins | |||
| Herbert Westbrook | |||
| Ram Yedekar | |||
Set Decoration by | |||
| Hugh Scaife | |||
Costume Design by | |||
| Judy Moorcroft | |||
Makeup Department | |||
| Eric Allwright | .... | makeup artist | |
| Elaine Bowerbank | .... | hair stylist | |
| Jill Carpenter | .... | makeup artist | |
| Vera Mitchell | .... | hair stylist | |
Production Management | |||
| Rashid Abbasi | .... | unit manager: India | |
| Jim Brennan | .... | production manager | |
| Shama Habibullah | .... | production manager | |
| Barrie Melrose | .... | production supervisor | |
| John Downes | .... | production manager (uncredited) | |
Art Department | |||
| Albert Blackshaw | .... | construction manager: India | |
| Ron Coleman | .... | construction manager: UK | |
| Eddie Fowlie | .... | props | |
| Bert Hearn | .... | property master: UK | |
| Mickey Pugh | .... | props | |
| Steve Short | .... | props | |
| Frank Billington-Marks | .... | assistant property master (uncredited) | |
Sound Department | |||
| Jeremy Baylis | .... | assistant dialogue editor | |
| Ron Butcher | .... | sound engineer | |
| Michael A. Carter | .... | sound recordist | |
| Peter Dansie | .... | assistant sound editor | |
| Graham V. Hartstone | .... | sound recordist | |
| Jack T. Knight | .... | sound effects editor | |
| Nicolas Le Messurier | .... | sound recordist | |
| Dick Lewzey | .... | sound recordist (as Richard Lewzey) | |
| Archie Ludski | .... | dialogue editor | |
| John W. Mitchell | .... | sound recordist (as John Mitchell) | |
| Keith Pamplin | .... | boom operator | |
| Winston Ryder | .... | sound editor | |
| Lionel Strutt | .... | sound recordist | |
Special Effects by | |||
| Robin Browne | .... | effects | |
Stunts | |||
| Richard Graydon | .... | stunt coordinator (uncredited) | |
Camera and Electrical Department | |||
| Robin Browne | .... | photography: second unit | |
| Frank Connor | .... | still photographer | |
| Frank Elliott | .... | focus puller | |
| John Fletcher | .... | second camera operator | |
| Roy Ford | .... | camera operator | |
| W.C. 'Chunky' Huse | .... | grip (as Chunky Huse) | |
| Martin Kenzie | .... | clapper loader | |
| Alan Martin | .... | electrician | |
| Bill Pochetty | .... | electrician | |
| Chris Pinnock | .... | camera operator (uncredited) | |
| Nigel Seal | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Rosemary Burrows | .... | wardrobe mistress | |
| Keith Morton | .... | wardrobe master | |
Editorial Department | |||
| Kees T. Hooft | .... | assistant editor (as Kees 'T Hooft) | |
| Ron Lambert | .... | color timer: USA | |
| Eunice Mountjoy | .... | associate editor | |
| Anne Sopel | .... | assistant editor | |
| Alf Wharton | .... | color grading: UK | |
Music Department | |||
| Robin Clarke | .... | music editor | |
| John Dalby | .... | composer: theme "Freely Maisie" | |
| Maurice Jarre | .... | conductor | |
Transportation Department | |||
| Pamela Wells | .... | transportation | |
Other crew | |||
| Pamela Allen | .... | contact: London | |
| Mohini Banerji | .... | liaison: Delhi | |
| Charles Cannon | .... | production accountant | |
| Eleanor Chaudhuri | .... | production secretary: India | |
| Eddie Fowlie | .... | location manager | |
| Diana Hawkins | .... | publicist | |
| Christopher Palmer | .... | assistant: Maurice Jarre | |
| P.N. Parthasarathy | .... | government liaison: India | |
| Pat Pennelegion | .... | production assistant | |
| Brioni Pereira | .... | location secretary | |
| Germinal Rangel | .... | couturier | |
| Rex Saluz | .... | location accountant | |
| Maggie Unsworth | .... | continuity | |
| Marcus Wilford | .... | customs liaison | |
| David Cherrill | .... | location manager (uncredited) | |
| Yeti Jindal | .... | location manager (uncredited) | |
| Lee Katz | .... | production consultant (uncredited) | |
| Richard Morrison | .... | title designer (uncredited) | |
| Kevin Phelan | .... | unit projectionist: Mercury Theatres, London (uncredited) | |
| Thomas Thanangadan | .... | production assistant (uncredited) | |
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| Gandhi | The Man Who Would Be King | The Notebook | Lagaan: Once Upon a Time in India | Water |
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Films based on novels (as in this case) must rely on screenplays which condense the material, and supply either voice-overs, or visuals to explain what is going on in a character's head. Usually, a voice-over is a cop-out. David Lean has provided a brilliant substitute for a voice-over in the scene where Adela wanders on her bicycle into the bush to discover a Hindu temple. A central mystery in the book as well as in the film is the ambiguity of the cause for the court case. Forster said that judgment was up to the reader. Lean was a reader, and in my view, he made his decision, and provided us with a clue in that scene (which is not in the book). Here is that scene: Adela leaves the safe British compound on an exploratory trip with a bicycle. She leaves the highway, and cycles down a path through the weeds. The sign- post, which had appeared quite natural when she looked at it, now looks like a Christian Cross when she leaves the road and goes down the path. The music changes from a major key to the minor, suggesting mystery, or menace. She is leaving her familiar culture and riding into the unknown. She sees a fallen sculpture. A voluptuous sculpture. She doesn't turn back. As she rides farther, the weeds grow higher. She is being engulfed by India. She dismounts as she approaches a copse, and walks into the shadows. She sees a ruined Hindu temple covered with erotic sculptures. Amourous couples are coupling. She stares at these apparitions, so abandoned, and so alien to her proper Victorian up-bringing. She is attracted by the spectacle, but she is frightened by her attraction. Suddenly she hears a noise, and looks up to see a troop of monkeys. They chatter menacingly at her and begin to scamper down the temple, over the erotic sculpture, and in panic she flees. Could the monkeys symbolize that emotional, sensual, animal nature that lives in everyone but is supposed to be suppressed in Englishwomen (and American ones, for that matter!)? Are they saying, "This is our land, the land of emotion; you do not belong here"? India attracts her. It awakens hidden desires. It menaces her. She flees to the familiar, visibly shaken. Back at the bungalow, with her fiancé, she says "I want to take back what I said at the polo," which was that she wanted to delay the wedding. She was so frightened by the feelings rising in her as she tasted a bit of Indian culture that she wanted to put a stop to passion by marrying! And all of that was said in the film without words. It provides us with a rationale for believing she later suffered an hallucination, which is at the core of the plot.