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.

The scenes are beautiful, the acting is OK, the music is not extraordinary and the script is really bad. I am an Indian and we don’t and didn’t talk like that. Conflict between the English and the Indians? accusing an indian fellow of sexual abuse, while he is totally innocent, the riot by the the indians demanding the release of Dr. Aziz. It is an OK movie but fails to show any interesting event or any interesting person; even the ending is weak and shallow.

… with those who waffle viewed as traitors. E. M Forester’s classic novel has been a part of my life. I first read it in early 1969, when I was an agent of another empire, playing the same game, of trying to keep those ever-so-uppity natives in their place. Admittedly, I did a bit of waffling. I re-read the novel in 2018, appreciating it all the better, due to my subsequent experiences in the Muslim world. In my review on Amazon, I provided the novel with my special “6-star” rating. And then there is David Lean, the epic master, first and foremost of “Dr. Zhivago,” with so many memorable quotes that have resonated through the decades, like, “your country, officer…” And “Bridge Over the River Kwai,” what a wonderful metaphor for so much of modern life, and the raised hand, falling, denoting the time to race down the sand dunes and attack the Turkish train headed for Medina, in “Lawrence of Arabia.” Lean is a master, and therefore there should be no surprise that he beautifully reproduced a British cantonment in India, between the World Wars, with its essential club, where the “unwashed” are not admitted, that is, the 400 million people of India at the time. How does he do it? Alex Guinness, that is, who left us at the age of 86, in the year 2000. He played the wise and cynical half-brother of Yuri Zhivago, Yevgraf, of, “happy men don’t enlist.” In “Passage,” rather amazingly, he played Godbole, a Brahmin, with numerous penetrating insights into the Indian caste system as well as the Indian-British relationship. Adela Questad is going out to India with dear ol’ mom, Mrs. Moore, possibly to marry Ronny, an upstanding sahib in the British establishment. Adela wants to see “the real India.” She and mom are seated for dinner, across from the British commissioner for Chandrapore, who is wearing his tux, along with his wife, on the train. As for Adela’s bubbling enthusiasm for seeing the real folks, the commissioner gently rebukes her with: “we don’t come across them socially”… “east is east,” you understand. Judy David plays Adela Questad. James Fox plays the schoolteacher with all those dangerous waffling ideas about the “club” and Britain’s own caste system, which tosses the Brahmins like Godbole down the heap quite a bit. Victor Banerjee is excellent as Aziz, a medical doctor who bubbles with enthusiasm at the prospect of just receiving the slightest nod of acceptance within the British establishment. He arranges for a very ill-starred outing to the Malabar Caves near Chandrapore. The caves’ principal feature is that they are dark inside. “The real India.” Ah, the changing fashions in psychiatric diagnoses. Consider PTSD, for example. An appropriate description for the mental state of a soldier who saw two of his friends burned alive by a white phosphorus shell. Now it has morphed into an official medical diagnosis to describe the mental condition of a woman who gets a lot of grief for building a 20,000 square foot home on Nantucket Island, per a recent documentary. There was a time when the standard diagnosis for a lot of women was a “hysteric.” Today, Google has difficulty finding it, with a preference for a myriad of more specific sub-categories. Heat, darkness, dollops of repressed “hysteria,” and Adela imagines that Aziz has raped her when it was just the two of them inside a cave. Yes, Aziz, no good deed goes unpunished. He is brought to trial. The Club naturally has to “circle the wagons,” loyalty, et al., with the exception of the schoolteacher. The “natives” demonstrate they can be restless. The one person’s true opinion of this novel, and now movie, that I’d love to have is my daughter-in-law’s, who is a psychiatrist, specializing in female mental conditions, obviously a century after the time of this novel. My “gut” says it would ruin a good dinner’s conversation and I do not need the grief, seemingly content in my antiquitarian world view. And thus, for David Lean’s superlative adaptation of a STILL excellent novel, 6-stars.

Loved this show/drama! Also reminded me of another great series Indian Summers. My Daddy was a Designing Engineer for Norfolk Southern RR in the 50's60's & Mother & I always traveled with him all over US. We had a wonderful private Pullman sleeper car, there were Fine Dining cars, Waiters wore White gloves, linen table clothes, Bone China, Sterling silverware, and beautiful Silver Tea/coffee/Hot Chocolate pots brought to our car in the evening and wake-up! Bar/Lounges. I always loved traveling by trains, I'm 66 yrs young now & still do, but in Europe. It's really sad the US doesn't have Luxury Train travel, it's great as Europe still does and Canada. Planes get you to destination quicker, IF you don't have long waits or cancellations, but really it's the journey, the sightseeing of the countrysides the kids miss, plus Amtrax has great kids cars with movies, games, soda & snack bar! *I do wish my Daddy would have had to travel to exotic places too! When my son was 16, I can't believe it's been 25 yrs ago! We went from Amtrak in Atlanta to the Grand Canyon, it was fabulous trip! Stayed 4-5 days in cabin ontop of Canyon, drove to Flagstaff, Sedona, then back on Amtrak & Navajo Princess came onboard for an hour trip. Trust me, Take your kids, breathtaking sites, my son took plane ride through canyon, hiked down to Canyon River & take raft rides! They will Love it and so will you! Different packages. I pray I can take my Grandson next summer, he'll be 11.

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

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 ???

Attention, contrairement à ce qu'indique Amazon, ce commentaire concerne l'édition Blu-Ray. Je viens de revoir "La Route des Indes" et je confirme mon impression d'il y a 30 ans, quand je le découvrais au cinéma : c'est peut être le chef-d’œuvre de David Lean. Nous sommes dans les années 20, à l'époque du colonialisme britannique triomphant, quand le soleil ne se couchait jamais sur l'Empire. Adela Quested et Mrs Moore, franchissent la Porte des Indes à Bombay, au sortir du bateau qui les amène d'Angleterre. Adela vient rejoindre son fiancé, Ronny, juge à Chandrapore. Ronny est le fils de Mrs Moore. Les deux femmes découvrent le fruit de cette rencontre improbable entre une civilisation indienne luxuriante et mystérieuse, une marée humaine bruyante, grouillante, spirituellement intense...et une colonie britannique figée dans ses certitudes et son sentiment de supériorité. Difficile d'imaginer deux peuples plus différents. Les nouvelles venues sont choquées par la conduite de leurs compatriotes et curieuses de cette civilisation qu'elles cherchent à mieux connaître. C'est ainsi qu'elles feront la rencontre d'un jeune médecin local, le Dr Aziz, fasciné par le mode de vie de l'occupant. Pour les remercier de leur intérêt, il va les convier à un pique-nique autour des mystérieuses grottes de Marabar. C'est là, loin de la ville, sous ce climat étouffant qui précède la moisson qui se prépare à éclater, que va se dérouler le drame. 14 ans après son dernier film (l'excellent "La Fille de Ryan"), terrible (et injuste) échec, David Lean revenait derrière la caméra pour adapter le roman d'E.M. Forster, pourtant réputé impossible à scénariser correctement selon son auteur lui même. Si bien évidemment, en matière de classicisme romantique, David Lean n'avait de leçons à recevoir de personne, on pouvait craindre que pour rendre la dimension quasi charnelle présente dans le roman de Forster, le cinéaste des grandes fresques historiques ne soit pas le meilleur choix. Ce n'est pas le cas et on mesure au contraire tout ce qui sépare un bon cinéaste (James Ivory "habituel" adaptateur des romans de Forster), d'un immense metteur en scène. Attention spoiler. Ce film est remarquable à plus d'un titre. Le traitement de l'histoire, d'abord. On retrouve d'abord comme d’habitude, chez Lean, le souci de traiter les grands évènements historiques en arrière plan des destinées individuelles. Mais ici, contrairement par exemple à "Lawrence d'Arabie" ou "Le Dr Jivago", les personnages ne sont pas balayés ou sublimés par les évènements. C'est avant tout leur cheminement intime qui est dévoilé. Le film ne se contente pas de montrer le choc des civilisations de manière dichotomique. Il est traversé par le souffle brûlant de l'atmosphère sensuelle qui va conduire la jeune Adela au bord de l'abime. Cette jeune fille est tiraillée entre son éducation, son souci de s'intégrer à la bonne société Britannique et l'émergence d'une terrible frustration, née de l'indifférence guindée de son fiancé et du carcan victorien qui régit les rapports. Elle plonge peu à peu dans un monde inconnu de moiteur et d'érotisme diffus qui l'entraine dans une sorte de transe émotionnelle, libérant l'exultation jusque là contenue de ses sens. Et Lean rend parfaitement cette tempête des sens qui l'emporte, tout en préservant l’ambiguïté qui fait la richesse du film avec un mystère jamais vraiment éclairci : que s'est-il passé dans les grottes de Marabar ? Le Dr Aziz a t-il abusé d'Adela comme cette dernière l'en accuse ou s'agit-il d'une affabulation ? Même si on penche plutôt pour l'innocence d'Aziz, rien ne permet vraiment d'affirmer qu'en matière de grottes, il n'a visité que celles de Marabar. Mais pour autant, derrière ces personnages, l'Histoire avance elle aussi. Le fragile équilibre qui permet aux britanniques de conserver la main mise sur le pays, est mis à mal quand le Dr Aziz est accusé. A travers lui, c'est l'Inde qui est mise au ban des accusés et qui clame sa révolte face au comportement des autorités et l'iniquité de la justice, prémisses du mouvement qui amènera les Britanniques à quitter le sous-continent. Mais évoquons aussi l'interprétation, fascinante dans ce film. Lean n'est pourtant pas réputé pour sa direction d'acteurs et ses tournages ont toujours été l'occasion de moments conflictuels. Il semble d'ailleurs que "La Route des Indes" n'ait pas fait exception. Et pourtant... Dans le rôle d'Adela, Judy Davis est remarquable. Sa fragilité qu'on devine pourtant, ne se dévoile qu'au fur et à mesure, jusqu'à culminer dans les scènes quasi oniriques des grottes (qui font penser par certains aspects au formidable "Soudain l'été dernier" de Mankiewicz). Peggy Ashcroft qui joue Mrs Moore est également parfaite dans ce rôle de femme troublée par ce qu'elle ressent en découvrant ce pays et le comportement de ses compatriotes, dont son fils. Elle pressent aussi, ce qui va arriver car elle est la seule à rester lucide sur les évènements. Mais comment passer sous silence (son interprétation n'est même pas mentionnée au dos du boitier) la composition de Victor Banerjee (Dr Aziz) ? Son personnage de médecin indien fasciné par les mœurs et coutumes des britanniques jusqu'à en devenir obséquieux et servile, va subitement évoluer quand l'injustice le poussera à retrouver ses racines. Il va alors rejeter ce qu'il a adoré. On peut suivre cette évolution dans ses yeux et sur son visage extraordinairement expressif. Il y a de l’expressionnisme, du Peter Lorre, chez Banerjee. Il faut dire aussi un mot de l’étonnant choix d'Alec Guinness, (pourtant un pur Britannique habitué des films de Lean) pour incarner le Professeur Godbole, un enseignant en philosophie indienne, un peu mystique. Pari audacieux avec un résultat à mi-chemin entre les transformations de Peter Sellers dans "The Party" et d'Al Jolson dans le "Chanteur de Jazz", qui amène une respiration aussi étrange que bienvenue, parfois comique, sans nuire au film. Enfin, il faut saluer le talent de mise en scène. Lean a déjà traité de grands sujets, s'est appuyé sur des histoires spectaculaires ("Lawrence d'Arabie", "Le Pont de la rivière Kwaï", "Le Dr Jivago) mais un peu écrasantes. Il n'a pourtant sans doute, rarement été aussi proche de capter les âmes. Chaque plan mériterait une analyse à part entière tant rien n'est gratuit à l'écran, mais c'est l'impalpable, l'indicible, qu'il parvient à rendre. Comment un cinéaste pareil incapable de faire un mauvais film (même si on peut et c'est mon cas, rester de marbre devant "Dr Jivago" par exemple), peut-il encore être à ce point ignoré ? Pourquoi ce film n'a t-il pas connu un immense succès ? Le monde des années 80 n'était peut être plus prêt à recevoir ce type de film, sans action spectaculaire, sans discours tranché. Quel gâchis ! Le film a été merveilleusement restauré (même s'il n'a pas bénéficié du même soin ahurissant que celui porté à "Lawrence d'Arabie"). Quelques plans, nocturnes notamment et des scènes vers la fin, sont parfois un peu bruités au delà du grain cinéma appréciable le reste du temps. Le son est bien traité (VOST en Dolby Digital 5.1 et Stéréo, VF en Stéréo), même si j'ai trouvé le volume des dialogues un peu sous mixé. La musique de Maurice jarre par contre, enveloppe judicieusement le film. Les bonus se résument essentiellement à une très intéressante et pertinente analyse du film par Pierre Berthomieu. Un tel film aurait mérité encore bien davantage, mais on fera avec. Une splendeur.

Leí hace muchos años la novela de Forster y no no me atrevo a opinar si la película es peor, igual o mejor que la novela. Me gusta mucho cómo David Lean refleja la vulnerabilidad y dulzura de los hindúes ante el poderío de los británicos, pero sin meterse en discursos políticos insufribles. La música de Maurice Jarre es como siempre una maravilla. En fin, confieso que soy una fan incondicional de este director tan inmenso, capaz de dirigir películas tan magníficas, geniales y llenas de matices como Doctor Zhivago, Lawrence de Arabia, La hija de Ryan...