IMDb > Heat and Dust (1983)
Heat and Dust
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Heat and Dust (1983) More at IMDbPro »

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Overview

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6.7/10   1,043 votes »
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Release Date:
January 1983 (UK) See more »
Genre:
Plot:
Anne is investigating the life of her grand-aunt Olivia, whose destiny has always been shrouded with scandal... See more » | Add synopsis »
Plot Keywords:
Awards:
Won BAFTA Film Award. Another 1 win & 8 nominations See more »
User Reviews:
A Tale of Two Stories See more (10 total) »

Cast

  (in credits order) (verified as complete)

Christopher Cazenove ... Douglas Rivers, the Assistant Collector (The Nineteen Twenties in the Civil Lines at Satipur)

Greta Scacchi ... Olivia, his wife (The Nineteen Twenties in the Civil Lines at Satipur)

Julian Glover ... Crawford, the District Collector (The Nineteen Twenties in the Civil Lines at Satipur)

Susan Fleetwood ... Mrs. Crawford, the Burra Mensahib (The Nineteen Twenties in the Civil Lines at Satipur)

Patrick Godfrey ... Saunders, the Medical Officer (The Nineteen Twenties in the Civil Lines at Satipur)
Jennifer Kendal ... Mrs. Saunders (The Nineteen Twenties in the Civil Lines at Satipur)
Shashi Kapoor ... The Nawab (At the Palace in Khatm)

Madhur Jaffrey ... Begum Mussarat Jahan, the Nawab's mother (At the Palace in Khatm)
Nickolas Grace ... Harry Hamilton-Paul (At the Palace in Khatm)
Barry Foster ... Major Minnies, the Political Agent (At the Palace in Khatm)

Julie Christie ... Anne (1982. In Satipur Town)
Zakir Hussain ... Inder Lal, Anne's landlord (1982. In Satipur Town)
Ratna Pathak ... Ritu, Inder Lal's wife (1982. In Satipur Town)
Tarla Mehta ... Inder Lal's mother (1982. In Satipur Town)
Charles McCaughan ... Chid (1982. In Satipur Town)
Sajid Khan ... Dacoit Chief
Amanda Walker ... Lady Mackleworth
Praveen Paul ... Maji
Jayant Kripalani ... Dr. Gopal
Sudha Chopra ... Chief Princess
Daniel Chatto ... Party Guest (as Dan Chatto)
Geoff Heinrich
Ishak Khan (as Ishtiaq Khan)
Bobby Bedi (as Deep Bedi)
Baba Ghaus
Leelabai ... Leelavati
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Directed by
James Ivory 
 
Writing credits
Ruth Prawer Jhabvala (novel)

Ruth Prawer Jhabvala (screenplay)

Produced by
Connie Kaiserman .... associate producer
Rita Mangat .... associate producer
Ismail Merchant .... producer
 
Original Music by
Richard Robbins 
 
Cinematography by
Walter Lassally 
 
Film Editing by
Humphrey Dixon 
 
Casting by
Susie Figgis 
 
Production Design by
Wilfred Shingleton 
 
Art Direction by
Maurice Fowler 
Ram Yedekar 
 
Costume Design by
Barbara Lane 
 
Makeup Department
Mohammed Amir .... assistant makeup artist
Jeffrey Haines .... assistant hair stylist
Carol Hemming .... hair stylist
Gordon Kay .... makeup artist
 
Production Management
Peter Manley .... production manager
 
Second Unit Director or Assistant Director
Kevan Barker .... assistant director
David Nichols .... second assistant director
Gopal Ram .... third assistant director
 
Art Department
Agnes Fernandes .... set dresser
Tom Freeman .... property master
Jayant Paranji .... assistant property master
Agnes Goveas .... set dresser (uncredited)
 
Sound Department
Ray Beckett .... sound recordist
Brian Blamey .... dubbing editor
Tony Bray .... assistant sound editor
Richard King .... dubbing mixer
Steve O'Brien .... boom operator
Vali Patel .... sound grip
 
Visual Effects by
Costas Charitou .... titles: Camera Effects Ltd (uncredited)
David Smith .... optical cameraman: Camera Effects Ltd (uncredited)
 
Camera and Electrical Department
Christopher Cormack .... still photographer
Mulchand Dedhia .... electrician
Tony Garrett .... assistant camera
Rajesh Joshi .... second assistant camera
Sheik Juddin .... electrician
Manilal .... gaffer
Morgesh .... electrician
A. Natarajan .... electrician
Gyanchand Rikki .... camera grip
Janardhan Rumde .... electrician
 
Costume and Wardrobe Department
Lovleen Bains .... wardrobe assistant (as Loveleen Baines)
Mary Ellis .... assistant costume designer
Ibrahim .... second wardrobe assistant
Sarah Armstrong-Jones .... wardrobe assistant (uncredited)
 
Editorial Department
Mark Potter Jr. .... assistant editor
 
Music Department
Hariprasad Chaurasia .... musician: fute
Zakir Hussain .... associate music director
Zakir Hussain .... musician: percussion
Nishat Khan .... musician: sitar
Ustad Sultan Khan .... musician: sarangi (as Sultan Khan)
Harry Rabinowitz .... conductor
Michael Reaves .... musician: piano
Vic Flick .... music arranger (uncredited)
Zakir Hussain .... composer: additional music (uncredited)
James Ivory .... musician: tampura (uncredited)
 
Other crew
Paul Bradley .... assistant to producer
Jane Buck .... continuity clerk
Prashant Gupta .... assistant to director
Shama Habibullah .... production coordinator
Riaz Hafizka .... production controller
Saeed Jaffrey .... dialogue: Urdu
Harish Khare .... dialogue: Hindi
Rambali Mishra .... runner
Deepak Nayar .... location manager
Mick Parker .... synthesizer
Piyush Patel .... production assistant
Zakiya Powell .... unit publicist
J. Rathore .... production accountant (as J.U. Rathore)
Nancy VandenBergh .... production assistant
Jean Walter .... production secretary
Renée Glynne .... script supervisor (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
133 min
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Language:
Color:
Aspect Ratio:
1.66 : 1 See more »
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Did You Know?

Trivia:
Greta Scacchi was only chosen for her part one week before shooting.See more »

FAQ

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14 out of 19 people found the following review useful.
A Tale of Two Stories, 23 November 2005
Author: James Hitchcock from Tunbridge Wells, England

During the 1980s the British entertainment industry was going through a period of fascination with all things Indian, especially with the Raj. This was the decade of Richard Attenborough's "Gandhi", David Lean's "A Passage to India" and the television version of "The Jewel in the Crown" and this one is another in the same vein. There are two intertwined stories. The first is set in the 1920s and deals with an illicit affair between Olivia, the beautiful young wife of a British colonial official and an Indian Nawab. The second, set in the seventies or eighties, deals with Anne, Olivia's great-niece, who travels to India hoping to find out about her great-aunt's life, and while there also has an affair with an Indian man.

A similar device was used in another British film of this period, "The French Lieutenant's Woman", which also switched backwards and forwards between a story set in the past and one set in the present day. There is, however, a difference between the two films in that in "The French Lieutenant's Woman" the present-day story was an invention of the scriptwriters and was not found in John Fowles's original novel; it was inserted to provide a cinematic equivalent to Fowles's strong authorial voice and his famous two alternative endings. In "Heat and Dust" the modern scenes were an integral part of Ruth Prawer Jhabvala's book on which the film was based. Her aim seems to have been to compare contemporary attitudes to race and sex with those prevailing in the days of the Raj.

The trick of cross-cutting between two different stories with only a tangential connection between them can be a difficult one to bring off, in literature as well as in the cinema. Neither "The French Lieutenant's Woman" nor "Heat and Dust" works particularly well in this regard. In both cases the story set in the past is the stronger one, partly because it is filmed in a more sumptuous and visually memorable style, and partly because it is more fundamentally serious. We can empathise with Olivia because of the potentially tragic consequences of the course of action she is pursuing; the romance of Anne and Inder Lal seems trivial by comparison. (Inder Lal is cheating on his wife Ritu, but this fact tends to get overlooked).

The makers of "The French Lieutenant's Woman" (in my view the better of the two films) appear to have recognised this problem, because they devote much more attention to the Victorian romance of Charles and Sarah than they do to the contemporary one of Mike and Anna. They were also able to provide a semblance of unity to the film by using the same actors, Jeremy Irons and Meryl Streep, to play both sets of lovers. In "Heat and Dust", however, the cross-cutting can be confusing as we constantly move from one story to another. The parallels between the values of the seventies and those of the twenties, which were well brought out in Jhabvala's novel, tend to get lost here, even though she wrote the screenplay herself.

The other main weakness of "Heat and Dust" is that we never really understand why Olivia becomes entangled with the Nawab. This is no tale of an Anna Karenina or an Emma Bovary, married to a dull older man who neglects her and whom she does not love. Olivia's husband Douglas is young, good-looking and attentive; at the start of the film, indeed, she seems desperately in love with him, preferring to stay with him during the summer heat rather than follow the other memsahibs to the cool of the hill station where they spend the summer away from their husbands. Shashi Kapoor's oily Nawab, by contrast, is an obvious scoundrel, despite the dubious glamour conferred by his royal status. (The British suspect him of being in league with a gang of bandits, allowing them to operate with impunity in exchange for a share of their booty).

With this reservation, however, the story of Olivia is generally well done. The lovely Greta Scacchi, in her first major role, makes an appealing tragic heroine. (She was to play another adulterous colonial wife a few years later in "White Mischief"). The other parts are generally well played, and there is an amusing cameo from Nickolas Grace as Harry, the Nawab's effeminate but sinister British adviser. The look of this part of the film is attractive, made in Merchant Ivory's normal "heritage cinema" style. Interestingly enough for a film made by an Indian-born producer and an American-born director, its politics seem less concerned with post-colonial guilt than do those of many British productions about the Empire. Although some of the British are obviously racist, such as Patrick Godfrey's doctor, the administrators we see often seem more concerned for the welfare of the Indian population than do their own rulers such as the Nawab.

The modern story, however, seems like an intrusion into the much more interesting historical one. Julie Christie is normally a gifted actress, but she seems wasted here. There is some fitful humour provided by the character of Chid, the American convert to Hindu mysticism who seems more interested in cheap sex than he does in enlightenment. Otherwise this part of the film can arouse little interest. 6/10

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