The answer to a movie is like icing on a pudding with sugar coating that tastes sweet to the tongue and smells like frosting on a cake but in 'A Passage To India' the 'London Bridge is falling down, falling down' does not make sense because colonial India had the government in the British control with third world Indians who learned the first English from the British. Arguments like for our sake sums foreign educated elites like the pioneers of certain institutions whom have trusted us with bringing prosperity to the Ashram where we've studied did not allow us to leave but to take a trust to return. Returning or the passage to the Ashram is without furthering the influence of the outside world at the Institutional level. The warm receptions of a Naipaul Classic novel at universities though not in the syllabus is the academic assurance that 'a passage to India' is a masterpiece in adventure.

The British colonial authorities use a contrived incident to stage a show trial to prove Indian inferiority and thereby further justify Britain's continued colonial occupation of India. Through clever directing, this movie appeals to the audience's sense of outrage at the British who are impervious to the loud and widespread demands that they leave India. The tension between the Indians and English soon becomes apparent. it is this tension that becomes the basis for the drama that unfolds. A young woman arrives in India and confronted by her own sexuality has a mental breakdown and accuses her companion, an Indian physician, of attempted rape. This allegation further widens the rift between the Indians and the British, and intensifies calls for the British to leave. This in turn makes the British even more determined to put the doctor on trial and get a conviction. The Indian defense counsel considered the trial a sham, protests get louder, yet the British continue undaunted. This sets the stage for even more dramatics, which will not be discussed here. To find out the exciting conclusion to this story, and how tensions,, get resolved, watch the movie. This movie is a great work of art.

It's been quite some time since I've seen this film but finally got it out for another look. The word I can best use to describe it is "Splendid" Considering it was made in 1984, it's really hard to believe. The setting, costumes, and style of speaking really has you believing this film was shot in the 1930s or 40's. But that is the style of David Lean. From the story line, direction, and style of filming, this is definitely a David Lean film. A lot of people may not like it because of it's old fashioned style, but it is indeed a splendid film. No bombs, no special effects, no dismembered limbs, just a story told on film. Splendid.!

Beautifully filmed, David Lean's 'A Passage to India' adapted from E.M. Forster's novel is a visually splendid. The visuals themselves are quite simplistic and yet the way they are portrayed is remarkable. It excellently captures the enigma and raw beauty of the Indian landscape which is exactly how Adela and Mrs. Moore see it.'A Passage to India' quite epic. Yet, it doesn't look like any other typical Hollywood epic feature and I think that's mainly due to Lean's effective and efficient use of his tools. It's as if the country itself is enough to make it look epic. It is this mysterious country that seduces Adela and drives her over the edge. Lean uses plenty of silence. While much of the dialogue is brilliantly written, it is the quieter moments and glimpses between the words that stand out.Peggy Ashcroft, Judy Davis, James Fox and Victor Bannerjee are outstanding as they deliver sincere and subtle performances. Even tough there have been complaints about the film's length, I thought the editing was great and I liked that Lean took his time rather than rush in telling the story. The score is minimally used. Lighting is terrific and sound is very good.In the end, 'A Passage to India' is exotic and sensual without the need to show a skin or sex, poetic without words and haunting without the usual thriller ingredients.