A Passage to India Page #9

Synopsis: 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."
Director(s): David Lean
Production: Sony Pictures Entertainment
  Won 2 Oscars. Another 19 wins & 26 nominations.
 
IMDB:
7.4
Rotten Tomatoes:
81%
PG
Year:
1984
164 min
840 Views


in an lndian state out of British lndia.

- And you?

- I shall go to England for a long leave.

Will you and she be going back

on the same boat?

No. I couldn't possibly get away

before the end of next term.

Miss Quested is going

as soon as she can get a passage.

I see.

- Look...

- I'm looking.

Godbole tells me that Amritrao

is asking 20,000 rupees damages.

And costs.

I'd hate to see her getting

the worst of both worlds. It'll ruin her.

And me? Prison,

my private letters read out in court,

my wife's photograph taken to

the station to be fingered by McBryde,

all because a girl "fresh from England"

got too much sun.

I know.

And I know what you're going to ask next.

You're going to ask me to let her off

paying 20,000 rupees, right?

Then, if I agree,

the English will be able to say

"Here is an lndian that almost

behaved like a gentleman."

"But for the colour of his face,

we might even let him join the club."

ls that why you came here to see me?

Answer me.

In the end, you English

always stick together.

I want to have nothing more

to do with any of you.

Any of you!

You can go back to the college

and tell her to keep the money.

Tell her to use it to buy herself

a husband! Tell her...

(speaks Urdu)

(festive music )

(cheering)

Are you coming with me?

I don't think so.

(both speak Urdu)

This is a great honour, Professor.

- Anything wrong?

- No, no.

They arrive at the state guest house

this afternoon.

How long have you known

they were coming?

One month, possibly two.

- Why did you not tell me?

- One cannot tell anyone anything

unless they are ready to hear it.

And what does that mean?

Mr Fielding wrote you letters from

London and Bombay. You tore them up.

- I did.

- That is my point.

"My dear Aziz,

I have some news for you."

"I am going to marry

someone whom you know."

The end of a foolish experiment.

I have made a new life for myself

up here... away from the English.

I shall be going to

the guest house to greet them.

But my religious duties will be claiming

my full attention for the next three days.

He's come all this way to find you.

Can you not let bygones be bygones

and show them around?

I'm sorry, but I've had enough

of showing Miss Quested lndia.

Stop. Let's stop for a moment.

We must be getting on.

Houseboat, sahib.

Hello!

Aziz!

Well, here you are at last.

I've been looking for you everywhere.

Akbar! Jamila!

Your children?

Yes.

I suppose Godbole told you I was here.

The minister of education never tells

anyone anything unless he has to.

His only piece of information was that

the high school was destined not to be.

I was supposed to inspect it.

Anyhow, here I am.

I've been visiting schools

all over the country.

We called in at Chandrapore.

Your bungalow's been turned into a shop.

Turton's retired and

Callendar's been given the push.

And Hamidullah sends his salaams.

It was he who told me

you'd moved up here.

So I wrote, care of Godbole.

Why didn't you answer my letters?

You married my enemy,

stole my money.

Aziz, I'm going to surprise you.

- What do you mean?

- My wife is Mrs Moore's daughter.

- Stella?

- Stella.

Miss Quested introduced us.

What a blunder.

- Where is she?

- I left her at the guest house.

You'll meet her tomorrow.

She mustn't do too much just now.

She is carrying your child?

Yes.

So after all,

your name will not die out.

That's right.

Mrs Moore.

Mrs Moore!

"And Stella believes the evil

of the Marabar has been wiped out,

and so do I."

"Dear Miss Quested,

tonight is the Festival of Light,

and I am writing this

to ask You to forgive me."

"It has taken all this time for me

to appreciate Your courage."

"Because of You, I am happy here

with my children instead of in prison."

"And because of You,

I want to do kind actions all round."

"Richard and Stella left this morning."

Goodbye.

"I do not think I will ever see them again."

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David Lean

Sir David Lean, CBE (25 March 1908 – 16 April 1991) was an English film director, producer, screenwriter and editor, responsible for large-scale epics such as The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1984). He also directed adaptations of Charles Dickens novels Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945). Originally starting out as a film editor in the early 1930s, Lean made his directorial debut with 1942's In Which We Serve, which was the first of four collaborations with Noël Coward. Beginning with Summertime in 1955, Lean began to make internationally co-produced films financed by the big Hollywood studios; in 1970, however, the critical failure of his film Ryan's Daughter led him to take a fourteen-year break from filmmaking, during which he planned a number of film projects which never came to fruition. In 1984 he had a career revival with A Passage to India, adapted from E. M. Forster's novel; it was an instant hit with critics but proved to be the last film Lean would direct. Lean's affinity for striking visuals and inventive editing techniques has led him to be lauded by directors such as Steven Spielberg, Stanley Kubrick, Martin Scorsese, and Ridley Scott. Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll in 2002. Nominated seven times for the Academy Award for Best Director, which he won twice for The Bridge on the River Kwai and Lawrence of Arabia, he has seven films in the British Film Institute's Top 100 British Films (with three of them being in the top five) and was awarded the AFI Life Achievement Award in 1990. more…

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