Movie audiences have been fascinated by the use of India as the location for Hollywood and British movies, not to mention Bollywood in the variety of native languages, since the industry was created, and if it wasn't Judy Davis in an early period of time in "A Passage to India", it is this obscure film set in modern times starring Hugh Grant. He's a journalist who falls in love with the boss's daughter (Shabana Azmi), challenging her claims that she doesn't love him back. Certainly she's quite fascinated by him, and does her best to persuade him of the fact that she loves someone else. Like many films set in the different parts of India, it's clear that non-Indian visitors are fascinated by the traditions and personal attributes of the natives, but something about the land has a mystical effect on them, as evidenced by Grant's photographer pal John Hurt in a brief but showy appearance. Azmi's younger sister acts as sort of fairy God sister in her subtle efforts to bring them together through involving them in her problems.
An early lead appearance for Grant, he's a bit more troubled than normal, quite jolly on the surface but definitely suffering from a depression of some sort. When he's initially seen, he seems to be dealing with a drinking problem, and it's up to Hurt to show him the India only special visitors see. It is slow but fascinating, taking the viewer into spots they'd never get to visit, and through the power of mysticism and human decency in spite of major cultural differences and family honor. There's no way that this story can end happily, and Grant is excellent in showing his character's increasing despair. It's just a shame that Hurt disappears early in the film because his troubled yet take charge character is the most memorable in the film.
An early lead appearance for Grant, he's a bit more troubled than normal, quite jolly on the surface but definitely suffering from a depression of some sort. When he's initially seen, he seems to be dealing with a drinking problem, and it's up to Hurt to show him the India only special visitors see. It is slow but fascinating, taking the viewer into spots they'd never get to visit, and through the power of mysticism and human decency in spite of major cultural differences and family honor. There's no way that this story can end happily, and Grant is excellent in showing his character's increasing despair. It's just a shame that Hurt disappears early in the film because his troubled yet take charge character is the most memorable in the film.