Rewatching A Passage to India after a few years, it is not one of my favourite David Lean films like Lawrence of Arabia, Great Expectations, Bridge on the River Kwai, Brief Encounter and Oliver Twist are, but for a swansong of a great director (one of my personal favourites actually) it's a very good one, but I do remember liking it more on first watch.
A Passage to India is not perfect, it ends anti-climactically and parts feel overlong and stretched with some drifting storytelling. This is also a rare case where the normally great Alec Guiness felt wasted and miscast, he never convinces in his very underwritten role and the performance is filled with uncharacteristically over-stated mannerisms.
However, Lean directs superbly and the film is lavishly made with typically luscious cinematography, lavish period detail and some of the most gorgeously evocative scenery of any Lean film (in a filmography of films filled with gorgeous scenery). Maurice Jarre's music score has been criticised for being an ill-fit, for me while lacking the Indian flavour and a tad too jaunty in the credits it is sumptuously scored, soaringly epic, sounds glorious and evokes a lot of emotion. The script is literate and very beautifully written, capturing the essence of Forster's writing while not feeling overly wordy or heavy, while the story is rich in atmosphere and explores the important themes of colonialism, relationships between cultures and the British Empire and its imperialism in a subtle but powerful way.
The film has been criticised for its pacing, and while there are a few draggy moments due to a few scenes feeling too stretched the main reason for the deliberate pacing was most likely for the viewer to soak up the setting and its atmosphere, A Passage to India does this brilliantly (and this is true for Lean's work in general as well). The part covering the trial is mostly fantastic but could have been longer, and the characters and their interactions are fascinating and well-realised. The acting is truly excellent, Peggy Ashcroft rightfully won an Oscar for her divine performance (especially in the temple scene) and Judy Davis is every bit her equal in a difficult but impulsively and movingly played performance. James Fox is remarkably thoughtful and sympathetic in his role, and Victor Banerjee gives his caricature role a real expressivity.
Overall, a very good swansong from Lean and a very good film. 7.5/10 Bethany Cox
A Passage to India is not perfect, it ends anti-climactically and parts feel overlong and stretched with some drifting storytelling. This is also a rare case where the normally great Alec Guiness felt wasted and miscast, he never convinces in his very underwritten role and the performance is filled with uncharacteristically over-stated mannerisms.
However, Lean directs superbly and the film is lavishly made with typically luscious cinematography, lavish period detail and some of the most gorgeously evocative scenery of any Lean film (in a filmography of films filled with gorgeous scenery). Maurice Jarre's music score has been criticised for being an ill-fit, for me while lacking the Indian flavour and a tad too jaunty in the credits it is sumptuously scored, soaringly epic, sounds glorious and evokes a lot of emotion. The script is literate and very beautifully written, capturing the essence of Forster's writing while not feeling overly wordy or heavy, while the story is rich in atmosphere and explores the important themes of colonialism, relationships between cultures and the British Empire and its imperialism in a subtle but powerful way.
The film has been criticised for its pacing, and while there are a few draggy moments due to a few scenes feeling too stretched the main reason for the deliberate pacing was most likely for the viewer to soak up the setting and its atmosphere, A Passage to India does this brilliantly (and this is true for Lean's work in general as well). The part covering the trial is mostly fantastic but could have been longer, and the characters and their interactions are fascinating and well-realised. The acting is truly excellent, Peggy Ashcroft rightfully won an Oscar for her divine performance (especially in the temple scene) and Judy Davis is every bit her equal in a difficult but impulsively and movingly played performance. James Fox is remarkably thoughtful and sympathetic in his role, and Victor Banerjee gives his caricature role a real expressivity.
Overall, a very good swansong from Lean and a very good film. 7.5/10 Bethany Cox