A Passage to India (1984)

Directed by David Lean

Based on a novel by E.M. Forster

Sakshi Agrawal
B.A. [H] Psychology
PSY22040

Sakshi AgrawalGeneral Elective

Travel Writings
Assignment: Movie Review of any movie based on Partition/ Travel/
Culture and Ethnicity/ West's idea of the East.
 David Lean's A Passage to India, a grand historical drama film released in
1984, stands as a testament to his remarkable talent as a writer, director, and editor.
This cinematic masterpiece draws inspiration from Santha Rama Rau's 1960 play,
which itself was adapted from E. M. Forster's renowned 1924 novel of the same
title. With Lean's artistic vision and the rich source material, A Passage to India
captivates audiences with its compelling narrative and profound exploration of
cultural complexities.
Taking place in the 1920s amidst the era of the British Raj, this cinematic
masterpiece delves into the intricate web of connections between various
individuals in the fictional metropolis of Chandrapore. Dr. Aziz, Mrs. Moore, Adela
Quested, and Richard Fielding find themselves at the center of this captivating
narrative. As Adela, a newcomer to India, accuses Aziz of a heinous crime within
the renowned Marabar Caves, the city becomes divided along the lines of the

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British upper class and the indigenous lower class. Amidst this turmoil, the
blossoming friendship between Aziz and Fielding is put to the ultimate test.
Through its compelling storytelling, the film delves into profound themes of
racism, imperialism, religion, and the intricate dynamics of both platonic and
marital relationships.
David Lean, who had harbored the desire to bring a novel to life on screen
since 1960, finally completed his project in 1984. After carefully analyzing the book
and critiquing its theatrical adaptation by Shantaramarao, Lean found himself
dissatisfied with the actor's script. Determined to capture the essence of a
mysterious country that intrigued and confounded foreign visitors, Lean dedicated
nine months to crafting his own script. Recognizing the challenges of translating
a rich and complex novel into a cinematic medium, Lean chose to focus on a select
few crucial themes from Foster's text, while staying true to the overall plot
structure.
 The film commences with the arrival of Mrs. Moore in Chandrapore, a
woman of exceptional wisdom and kindness. Alongside Adela Quested, they are
both taken aback by the narrow-mindedness of the British colony and their
disdainful attitudes towards the Indians. Mrs. Moore and Adela refuse to conform
to the mundane activities of the British station, seeking instead to explore the true
essence of India.
The movie begins with an artistic shot of Adila gazing through a
rain-streaked glass window in England. For the following 15 minutes, David Lean
immerses us in the contrasting lives of both the Indian locals and the colonial
English in India. The moonlit encounter between Dr. Aziz and Mrs. Moore marks a
pivotal moment as the film embarks on a journey that unfolds over the next hour,
where friendships are forged and deepened among the main characters.
With the help of Richard Fielding, they attempt to bridge the gap between

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the British and the locals. Through encounters with Professor Godbole and Dr.
Aziz, they embark on a journey that challenges their perceptions and beliefs. Dr.
Aziz, a courageous and endearing character, is drawn to the warmth and openness
of Mrs. Moore and Adela, leading to an invitation to the Marabar Caves, a trip that
promises more than meets the eye. So the Indian gentleman and the British lady
ascended the final trail in solitude, during a period when England's dominion over
India was underpinned by a deep-rooted, quasi-official prejudice, with certain
British individuals expressing tacit approval of Kipling's assertion that "East is
East, and West is West, and never the twain shall meet."
Throughout his life, Forster was haunted by the enigma of the Marabar
Caves and the events that unfolded within its depths. The caves, devoid of any
intricate sculptures or wall carvings, held no religious significance whatsoever.
Yet, their significance transcended the boundaries of time itself.
 The repercussions of the ill-fated expedition to the caves, depicted early on
in the film, set the stage for all that followed. It paved the way for a tumultuous
and harrowing courtroom drama, where Aziz found himself accused of the
heinous crime of raping Adela, who had once been captivated by the caves but
now found herself in a state of near-catatonia.
The mysteries concealed within the Marabar Caves left Forster grappling
with unanswered questions for the rest of his days. He deliberately evaded
providing a definitive answer, leaving the true nature of what occurred within
those cavernous depths shrouded in perpetual ambiguity.
Though he has made ''A Passage to India'' both less mysterious and more
cryptic than the book, the film remains a wonderfully provocative tale, full of vivid
characters, all played to near perfection.
A truly cinematic universe is meticulously crafted from the ground up, with

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each minute detail handpicked by a skilled filmmaker to serve a purpose. Every
element is carefully chosen to either enhance the narrative or provide crucial
insights into the story. Therefore, if David Lean decided to incorporate a particular
line of dialogue, it must hold significance in unraveling the theme of reincarnation
within the film.
Miss Quested stumbles upon the remains of a different temple, where
sensuous and erotic statues lay intertwined amidst the overgrown vegetation.
This scene, not originally in Forster's work but added by Lean in his screenplay,
hints at the complex interplay between sensuality and repression within Miss
Quested, a depth that her sexually repressed fiancé may never fully comprehend.
As Miss Quested gazes upon the statues, she is struck by a sense of both
fascination and discomfort. The intricate details of the sculptures, depicting
entwined bodies in various states of passion, evoke a primal response within her
that she struggles to understand. The lush vegetation surrounding the temple only
adds to the atmosphere of forbidden desire, as if nature itself is conspiring to
awaken something dormant within her.
For Miss Quested, who has always adhered to the strict moral codes of her
society, this discovery is both exhilarating and terrifying. The statues seem to
speak to a part of her that she has long suppressed, a part that yearns for freedom
and self-expression. And yet, the fear of judgment and condemnation looms large
in her mind, reminding her of the consequences of straying from the path of
virtue.
In contrast, her fiancé, who embodies the epitome of Victorian restraint and
propriety, would likely dismiss the statues as mere objects of lust and temptation.
He would fail to see the deeper significance of the artwork, the way it reflects the
complexities of human desire and the struggle between societal expectations and
personal fulfillment.

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As Miss Quested grapples with these conflicting emotions, she begins to
question the life she has chosen for herself. Is she truly content to live a life of
conformity and obedience, or does she long for something more, something that
lies beyond the confines of societal norms? The statues, with their unapologetic
sensuality, serve as a mirror to her own inner turmoil, forcing her to confront the
depths of her own desires and the limitations of her current existence.
In this moment, amidst the ruins of a forgotten temple, Miss Quested finds
herself at a crossroads. Will she continue to suppress her true self in order to fit
into the mold society has created for her, or will she embrace the complexities of
her own nature and forge a path of her own choosing? Only time will tell, but one
thing is certain - the statues have awakened something within her that can never
be ignored.
David Lean meticulously places these characters within a stunning canvas,
one of his most exquisite creations. He does not depict the India of travel
brochures and flashy postcards, but rather the India of a Victorian watercolor artist
like Edward Lear. In this picturesque setting, enigmatic little human figures are
scattered amidst breathtaking landscapes that appear perpetually unfinished.
Lean transforms India into a mesmerizing, elusive place that eludes the grasp of
an Englishman -- a poignant lesson that Miss Quested discovers in the depths of
the caves.
E.M. Forster's fame, his most celebrated works, each depict the hostile
repression of human connection in response to Edwardian convention. a theme
which his life, perhaps, imitated. Silenced by the confines of a selective society
his sexuality remained undeclared. It was after his death in 1970, after 47 years of
secrecy, that a wealth of unseen material was discovered, followed by the
posthumous publications of ‘Maurice’ and ‘The Life to Come’. It was his many
travels, particularly during the First World War, that gave him an awareness of

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homosexual love which compelled him to write ‘A Passage to India’. Forster
challenged the limits of Edwardian romance; obliquely encoded in each narrative
of love is a yearning to be free from the normative boundaries of respectable
‘Englishness’ and unyielding social structures, and so by permeating his stories
with the fantastical and the mythical, Forster makes homosexuality appear more
attainable.
This is depicted through an underlying homoerotic tension between Dr. Aziz
and Mr. Feilding. Aziz has only heard good things about Feilding and their first
meeting is akin to what romance enthusiasts would call a “meet cute” as it occurs
in Fielding's house when he is getting dressed. They both are mutually glad to
meet each other. Aziz is certainly attracted to him, even going so far as to offer
Fielding his collar stud. It's quite memorable of a boy crush.
The movie captures this tension wonderfully well in subtle and delicate
dialogues and looks. Multiple instances in the story paint the relationship as not
simply platonic friendship between two heterosexual men but a friendship with
intense homoerotic tension and longing. The text is rife with evidence that point
towards the romantic and erotic nature of Aziz’s relationship with Fielding.
A passage to india is an ambitious documentary of india itself
that's wrapped attractively in a fictional storyline made on an epic scale
typical of the second half of David Lean's body of work.
In the final moments of the film, the narrative shifts to the picturesque
landscapes of Kashmir, where Dr. Aziz finds himself. It is here that Fielding,
accompanied by his expectant wife, arrives to dispel the misunderstandings that
have plagued their friendship. Through their heartfelt conversation, they manage
to mend their bond and rekindle their camaraderie once more.
As a result of this reunion, Aziz is able to reconnect with Adila, expressing
his gratitude towards her. This heartfelt encounter signifies a fresh start, a new

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chapter in their lives.
The film concludes with a captivating shot, reminiscent of the film's
opening scene. Vedila, gazing pensively through a rain-streaked window in
England, leaves an indelible impression on the viewers. This evocative image
serves as a poignant reminder of the cyclical nature of life, as if to suggest that
every ending holds the potential for a new beginning.