A Passage To India (1984)

(England, the ocean, India; 1920's)

David Lean’s last film is a worthy final chapter to an incredible career. As I had mentioned in a previous review, Lean’s films were always amazing, at least all of his that I’ve seen. He had a tremendous sense of scope, in his visuals, in his stories, in his characters. He had a tremendous sense of justice and injustice, which is perhaps the primary theme of all his works, how we do wrong to each other, and how we can live to rise above it. I think maybe it was his Quaker upbringing that impressed the importance of peace, but not a false peace, so firmly upon him.

In his valedictory film, Lean again tackles issues of cultural communication and miscommunication, of the sincere desire of some to bridge gapes, and the calcified preconceptions of others that create casums. ‘India’ is the story of a young British women (excellently portrayed by a young Judy Davis, who had a wonderful light earthiness about her), who travels to India with her perspective mother-in-law (Peggy Ashcroft, in what may be the performance of the film) to visit her intended, who is a municipal judge for the occupation forces. The two women are quite open minded and ready for adventure, they relish the chance to get know some honest to goodness Indians, and find a willing friend in the eager to please Dr. Aziz (an astounding Victor Baneriee).

The good doctor takes the women on a trip to explore some locally famous caves, and in a series of events that are explained in the film, an allegation of attempted rape comes to be leveled against Dr. Aziz on the behalf of the young bride-to-be. There after is a study in preconceptions played out in court, and of loyalties, wether they be to race, friends, nation or the truth. Lean is a great source of concuss in film, and he brings home many things worth pondering upon in the course of ‘A Passage to India’.