David Lean Movies

A Passage to India, director David Lean's final film (for which he also received editing credit), breaks no new ground cinematically, but remains an exquisitely assembled harkback to such earlier Lean epics as Doctor Zhivago and Ryan's Daughter. Based on the novel by E. M. Forster, the film is set in colonial India in 1924. Adela Quested (Judy Davis), a sheltered, well-educated British woman, arrives in the town of Chandrapore, where she hopes to experience "the real India". Here she meets and befriends Dr. Aziz (Victor Banerjee), who, despite longstanding racial and social taboos, moves with relative ease and freedom amongst highborn British circles. Feeling comfortable with Adela, Aziz invites her to accompany him on a visit to the Marabar caves. Adela has previously exhibited bizarre, almost mystical behavior during other ventures into the Indian wilderness: this time, she emerges from the caves showing signs of injury and ill usage. To Aziz' horror, he is accused by Adela of raping her. Typically, the British ruling class rallies to Adela's defense, virtually convicting Aziz before the trial ever begins. Though he is eventually acquitted due to lack of evidence (in fact, director Lean never shows us what really happened), Aziz is ruined in the eyes of both the British and his own people-as is Adela. Woven into these proceedings is a subplot involving Adela's elderly travelling companion Mrs. Moore (Peggy Ashcroft), who through a series of plot twists too complex to describe here becomes a heroine of the Indian Independence movement. A Passage to India was nominated for several Academy Awards, scoring wins in the categories of Best Supporting Actress (Peggy Ashcroft) and Best Original Score (Maurice Jarre). A theatrical version of A Passage to India, written by Santha Rama Rau, was previously adapted for television by the BBC in the mid-1970s. ~ Hal Erickson, Rovi

The logic behind inflating Robert Bolt's minimalist romantic drama Ryan's Daughter into a 12-million-dollar epic seems to have been "When David Lean directs, it's a super-spectacular." Sarah Miles (who at the time was married to Robert Bolt) stars as Rosy, the daughter of Irish pub keeper Tom Ryan (Leo McKern). Married to tweedy, sexless schoolmaster Charles Shaughnessy (Robert Mitchum), restless Rosy has an affair with British officer Randolph Doryan (Christopher Jones). When village idiot Michael (an Oscar-winning turn by John Mills) innocently uncovers evidence of Rosy's indiscretion, the local gossips begin wagging their tongues. Shaughnessy chooses to remain above the scandal, assuming that Rosy will come to her senses. Later, Rosy's father informs on a group of IRA insurgents, hoping to keep the peace in his village. The locals assume that Rosy, still enamored of Doryan, is the informer, and exact a humiliating punishment. Realizing that his very presence has caused disgrace for Rosy, Doryan kills himself. For Rosy and Shaughnessy, life goes on...not happily ever after, just ever after. The film was lensed on location in Ireland by frequent Lean collaborator Freddie Young. ~ Hal Erickson, Rovi

This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal (Alec Guinness) dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer). In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriters Robert Bolt and Michael Wilson used T. E. Lawrence's own self-published memoir The Seven Pillars of Wisdom as their principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering $13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes were edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 216 minutes that returned several of Lean's favorite scenes while removing others with which he had never been satisfied. ~ Hal Erickson, Rovi

Katharine Hepburn stars as Jane Hudson, an Ohio secretary on the verge of spinsterhood. Carefully saving her money, Jane takes an extended trip to Venice, half hoping to find the romance that has always eluded her. Luck of luck, she meets handsome Renato Di Rossi (Rossano Brazzi), who sweeps her off her feet. Jane's flight on Cloud Nine comes to a flaming crash when she learns that Renato is married and the father of a large family. Picking herself up and dusting herself off, Jane is determined to keep her romance alive, and hang the consequences. She ultimately does what's best for everyone, and heads back to Ohio, wistfully clutching to the memory of the happiest summer of life. Gorgeously color-photographed on location by Jack Hildyard, Summertime was an adaptation of (and vast improvement upon) Arthur Laurents' play The Time of the Cuckoo. ~ Hal Erickson, Rovi

Breaking the Sound Barrier juxtaposes the history of jet aviation with an intensely personal fictional story. Ralph Richardson plays a wealthy aircraft manufacturer, stubbornly determined to develop a jet that will travel faster than the speed of sound. Richardson's seemingly cavalier attitude toward the pilots who have died on behalf of his dream--including his own son (Denholm Elliott)--has turned his daughter (Ann Todd) against him. When the daughter's fighter-pilot husband (Nigel Patrick) agrees to test Richardson's jet, he too loses his life. The daughter walks out of her father's life and sets up residence with the wife (Dinah Sheridan) of another pilot (John Junkin). Richardson approaches this pilot as well with his challenge--and this time the "sound barrier" is successfully broken without anyone being killed. Reconciled to the fact that her father's apparent coldbloodedness was in the interest of scientific progress, the daughter and her newborn child are reconciled with Richardson. The first independent project of director David Lean, Breaking the Sound Barrier was a huge success, persuasively scripted by Terence Rattigan and beautifully photographed by aerial specialist Jack Hildyard. The film's original British title was simply The Sound Barrier, but the American distributor apparently didn't want filmgoers to think the movie was about the record industry. ~ Hal Erickson, Rovi

David Lean directed this romantic drama, scripted by Eric Ambler from a novel by H.G. Wells. Mary Justin (Ann Todd) is married to wealthy financier Howard Justin (Claude Rains), and while their marriage allows her to lead a comfortable lifestyle, there's little excitement in their relationship. While visiting Switzerland, Mary happens to run into Steve Stratton (Trevor Howard), with whom she was romantically involved years before she wed Howard. Mary finds herself falling for Steve once again, and she has to decide if she should leave her husband in hope of finding real passion or stay with a man who treats her well but whom she does not love. Leading lady Ann Todd married David Lean the same year this was released; it was the first of three films they would make together prior to their divorce in 1957. ~ Mark Deming, Rovi

Immediately grabbing the audience's attention with a heart-stopping opening scene in a dark graveyard, acclaimed British director David Lean realizes the cinematic potential of Charles Dickens' classic 1861 novel, and the result is considered by many to be one of the finest literary adaptations ever made as well as one of the greatest British films of all time. Crystallized into a tight 118-minute running time by Lean, Ronald Neame, and a corps of uncredited contributors, this is the story of young Pip, a lad of humble means whose training as a gentleman is bankrolled by a mysterious benefactor. Along the way, Pip falls in love with the fickle Estella, befriends the cheerfully insouciant Herbert Pocket, has memorable encounters with the escaped convict Magwitch and the lunatic dowager Miss Havisham, and almost (but not quite) forgets his modest origins as the foster son of kindhearted blacksmith Joe Gargery. The role of Pip is evenly divided between Anthony Wager as a child and John Mills as an adult; Alec Guinness makes his starring film debut as the jaunty Pocket; Jean Simmons and Valerie Hobson are costarred as the younger and older Estella; and Martita Hunt is unforgettable as the mad Miss Havisham ("It's a fine cake! A wedding cake! MINE!") Remade several times, Great Expectations resurfaced in 1989 as a TV miniseries, with Jean Simmons, originally the young Estella, tearing a passion to tatters as Miss Havisham; and in 1998 it was remade again, in a contemporary version, with Ethan Hawke, Gwyneth Paltrow, Robert DeNiro, and Anne Bancroft in the Miss Havisham role. ~ Hal Erickson, Rovi

The Noel Coward/David Lean combination which turned out such dramas as Brief Encounter and This Happy Breed sets its sights on the viewer's funny bone with Blithe Spirit. Rex Harrison plays a novelist, newly married to straight-laced Constance Cummings. Via a seance, Harrison accidentally summons the spirit of his first wife, Kay Hammond. Believing that Hammond wants to ruin his marriage, Harrison enlists the services of local medium Madame Arcati (Margaret Rutherford) to exorcise Hammond's spirit. She fails, and in time, Harrison's second wife is killed; now he has two playful spirits on his hands! Technicolor is used throughout Blithe Spirit, with the ghosts' shimmering paleness providing contrast to the plain, everyday colors of Harrison's conservative country home. Blithe Spirit was later transformed into the Broadway musical High Spirits, with the original script bent out of shape to turn the character of Madame Arcati (played by Beatrice Lillie) into the leading role. ~ Hal Erickson, Rovi

Few morale-boosting wartime films have retained their power and entertainment value as emphatically as Noël Coward's In Which We Serve. To witness Coward's sober, no-nonsense direction (in collaboration with his co-director/editor, David Lean) and to watch his straightforward portrayal of navy captain Kinross, one would never suspect that he'd built his theatrical reputation upon sophisticated drawing-room comedies and brittle, witty song lyrics. The real star of In Which We Serve is the British destroyer Torrin. Torpedoed in battle, the Torrin miraculously survives, and is brought back to English shores to be repaired. The paint is barely dry and the nuts and bolts barely in place before the Torrin is pressed into duty during the Dunkirk evacuation. The noble vessel is finally sunk after being dive-bombed in Crete, but many of the crew members survive. As they cling to the wreckage awaiting rescue, Coward and his men flash back to their homes and loved ones, and, in so doing, recall anew just why they're fighting and for whom they're fighting. Next to Coward, the single most important of the film's characters is Shorty Blake, played by John Mills. (Trivia note: Mills' infant daughter Juliet Mills appears as Shorty's baby.) Even so, the emphasis in the film is on teamwork; here as elsewhere, there can be no stars in wartime. For many years, the only prints available to television were from the bowdlerized American version, which crudely cut out all "hells" and "damns." Fortunately, this eviscerated American release has since been shelved in favor of the full, glorious 115-minute version. ~ Hal Erickson, Rovi

George Bernard Shaw's satiric comedy about wealth and poverty is brought to the screen with wonderful performances by Rex Harrison and Wendy Hiller. Hiller plays Major Barbara Undershaft, a major in the Salvation Army who is also a socialist and stridently attacks capitalists -- in particular her father Andrew (Robert Morley), the head of a munitions plant. In love with Barbara is the young Greek scholar Adolphus Cusins (Rex Harrison), whose attentions go unreturned since Barbara spends all her time on her crusade against wealth. To show up his daughter, Andrew donates 50,000 pounds to the Salvation Army which, to Barbara's horror, the Army's general (Sybil Thorndike) happily accepts. Barbara, in protest, quits her post and it is left to Adolphus to take her on a tour of her father's munitions plant and prove to her the benefits of capitalism. ~ Paul Brenner, Rovi

This Anglo-American coproduction was based on the popular West End stage comedy by Terrence Rattigan. It all begins when Diana (Ellen Drew), the sister of a British boy studying in France, arrives in town to flirt with all of her brothers' schoolmates. Alan (Ray Milland), one of the students, successfully resists Diana's charms-meaning of course that Alan and Diana will be in each other's arms by fadeout time. Much of the wit and zest of the original stage production has been blunted for the screen, moving one critic to describe French Without Tears as "Comedy Without Laughs". In all fairness, however, the film does boast a hilarious drunk scene in a musty old French wine cellar. ~ Hal Erickson, Rovi

In this espionage drama, a Secret Service agent must discover who has been smuggling British arms into China. The prime suspect is a prosperous Chinese merchant-philanthropist and the agent thinks the merchant is working with the notorious Chinese guerrilla warlord General Ling. ~ Iotis Erlewine, Rovi

This film version of the famed Shakespearean comedy features Laurence Olivier as Orlando and Elisabeth Bergner as Rosalind. As the story goes, Rosalind, smitten by Orlando and not able to get his attention, disguises herself as a boy to more easily remain in Orlando's vicinity. Eventually Orlando grows to like his new friend and Rosalind is stuck playing a boy with a boy with whom she'd rather be a girl. Confusing? Maybe only Shakespeare could come up with the idea, but director Paul Czinner does a fine job executing the concept. ~ Rovi