A Passage to India (1984)

Director:

David Lean

Writers:

E.M. Forster (novel)
Santha Rama Rau (play)

Release Date:

25 January 1985 (USA)

Genre:

Adventure | Drama | History

Tagline:

David Lean, the Director of "Doctor Zhivago", "Lawrence of Arabia" and "The Bridge on the River Kwai", invites you on . . .[A Passage to India]

Plot:

Cultural mistrust and false accusations doom a friendship in British colonial India between an Indian doctor, an Englishwoman engaged to marry a city magistrate, and an English educator.

Plot Keywords:

Doctor | India | Magistrate | Mosque | English

Awards:

Won 2 Oscars. Another 18 wins & 24 nominations

Cast

Judy Davis	...	Adela
Victor Banerjee	...	Aziz
Peggy Ashcroft	...	Mrs. Moore
James Fox	...	Fielding
Alec Guinness	...	Godbole
Nigel Havers	...	Ronny
Richard Wilson	...	Turton
Antonia Pemberton	...	Mrs. Turton
Michael Culver	...	McBryde
Art Malik	...	Ali
Saeed Jaffrey	...	Hamidullah
Clive Swift	...	Major Callendar
Ann Firbank	...	Mrs. Callendar
Roshan Seth	...	Amritrao
Sandra Hotz	...	Stella

Also Known As:

David Lean's Film of a Passage to India (UK) (complete title)

Runtime:

163 min

Country:

UK | USA

Language:

English | Hindi

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:L | Canada:PG (Ontario) | Norway:12 | West Germany:6 (f) | Brazil:Livre | UK:PG (video rating) (1987) | Argentina:Atp | Australia:PG | Chile:TE | Finland:K-11 (DVD rating) | Sweden:11 | USA:PG | Ireland:PG | UK:PG | Singapore:PG | Netherlands:AL

Filming Locations:

Bangalore Palace, Bangalore, Karnataka, India

Company:

EMI Films

Trivia:

The original Broadway production of "A Passage to India" by Santha Rama Rau (born in Tamil Nadu, India) opened at the Ambassador Theater in New York on January 31, 1962 and ran for 109 performances.

Goofs:

Revealing mistakes: At the end of the film, as Dr. Aziz writes a letter, a festival with fireworks is going on outside his window. The colors red, green, and purple all appear simultaneously at two separate intervals, indicating studio lights instead of fireworks.

Quotes:

Ronny: [on Aziz] He was dressed in his Sunday best, and his back collar stud was out. And there you have the Indian all over.

Movie Connections:

Referenced in "Jeopardy!: (#26.28)" (2009)

Soundtrack:

Tea For Two

Treads the borderline of historical fiction and fantasy with breathtaking skill

Never mind whether or not it's as good as "The Bridge on the River Kwai", "Lawrence of Arabia", "Doctor Zhivago", et al.; the point is, it's a great film that was clearly made by the same David Lean that made the earlier masterpieces.

The stuff that usually gets dismissed with a wave of the hand - the art direction, the music (Maurice Jarre reserved his best scores for David Lean, although there's less music here than there usually is), the photography, the editing, the indefinable assuredness of narrative flow - everything that makes up the heart and soul of cinema, in fact - is as marvellous as ever. It's amazing enough when you consider that this was Lean's first film in fourteen years. More astonishing is that it was the first film on which he's credited as editor in forty-two years. Forty-two years earlier, he was working for Michael Powell (the only other British director as good as Lean), who considered him the best editor in the world; and while Lean's wielding the scissors again after all that time may have made very little difference to his overall style, I still think there's something special - even more special than usual - about the way "A Passage to India" flows. Maybe it's that Lean adapted the screenplay, then shot it, then cut it himself, but he has such an strong feel for the pulse of the story, such an unerring feel for what follows from what, that even the several jump cuts - jump cuts are usually the most ugly, the most offensively flashy, and the most intrusive of all cinematic devices - are beautiful, natural, even classical. In a way you don't notice that they're there.

I've never heard it said that two-time collaborators Powell and Lean have much in common - and they don't. But of all David Lean's creations this one comes closest to being like a Powell and Pressburger picture. There's an element of mysticism (threatening as well as comforting) darting in and out of the story with such fleetness and subtlety that it's hard to tell when it's there and when it's not; and, of course, the incident at the caves (explained exactly as much as it needs to be, and no more) could as easily have come from one of Pressburger's scripts as from Forster's novel. If you've seen "Black Narcissus", admittedly a very different kind of film, you don't need me to draw attention to the points of similarity.

Lean's imagery may be less openly bizarre than Powell's but the effect can be much the same. "A Passage to India", although it lacks the beauty of the films of the three Lean films shot by Freddie Young, contains Lean's most disturbingly powerful shots, yet they're of such things as these: monkeys (echoed later on in the film by a startling shot of a man dressed like a monkey - actually, that IS the kind of thing I can see Powell doing), someone clutching her hand to her chest, the moon, the first raindrops of a storm hitting a dirty window pane, even water - simple cutaway shots of nothing but moonlit water.

I haven't read the book, but I do know that if you HAVE to have read the book to see what's wrong with the film, why, then, there's nothing wrong with it. I don't know how much of the book has been lost in the translation but I do know that if too much has been lost to make a rich and powerful film, then whatever has been lost has been more than adequately replaced.