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A Passage to India (1984)

7.4
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Ratings: 7.4/10 from 10,823 users  
Reviews: 79 user | 49 critic

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.

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Title: A Passage to India (1984)

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Won 2 Oscars. Another 21 wins & 24 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Antonia Pemberton ...
Michael Culver ...
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Ali
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Ann Firbank ...
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Sandra Hotz ...
Stella
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Storyline

Circa 1920, during the Indian British rule, Dr. Aziz H. Ahmed was born and brought up in India. He is proficient in English, and wears Western style clothing. He meets an old lady, Mrs. Moore, at a mosque, who asks him to accompany her and her companion, Adela Quested, for sight-seeing around some caves. Thereafter the organized life of Aziz is turned upside down when Adela accuses him of molesting her in a cave. Aziz is arrested and brought before the courts, where he learns that the entire British administration is against him, and would like to see him found guilty and punished severely, to teach all native Indians what it means to molest a British citizen. Aziz is all set to witness the "fairness" of the British system, whose unofficial motto is "guilty until proved innocent." Written by rAjOo (gunwanti@hotmail.com)

Plot Summary | Plot Synopsis

Plot Keywords:

india | mosque | magistrate | english | doctor | See more »

Taglines:

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


Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

25 January 1985 (USA)  »

Also Known As:

Pasaje a la India  »

Box Office

Budget:

$16,000,000 (estimated)

Gross:

$26,400,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

The relationship between David Lean and Alec Guinness deteriorated during the making of the movie. The final straw came for Guinness when he found out that a large chunk of his scenes had been left on the cutting floor by Lean. Neither man ever met or spoke to the other again. See more »

Goofs

When Aziz goes to the party after his trial, Fielding stands on or near the verandah and sees him off. In a later shot of Fielding, protest signs appear each side of Aziz's door that were not there earlier. See more »

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.
See more »

Connections

Referenced in Z Channel: A Magnificent Obsession (2004) See more »

Soundtracks

Roses of Picardy
(uncredited)
Lyrics by Frederick Edward Weatherly
Music by Haydn Wood
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Treads the borderline of historical fiction and fantasy with breathtaking skill
24 May 2003 | by (Canberra, Australia) – See all my reviews

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.


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