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RE-ROUTED Unless it’s in a vault somewhere waiting to be uncovered, we’re likely never to see the version of 1956’s Bhowani Junction George Cukor intended. When MGM previewed it, audiences supposedly found the action confusing and distasteful, especially the sexual overtones. Against Cukor’s wishes, the studio rushed to simplify and sentimentalize the story of a woman “cheechee”—an Anglo Indian—torn between Britain and India at the time the Raj was collapsing and Gandhi was ascending. Scenes were cut, some of them entirely, plot machinations were rearranged, and Stewart Granger’s narration added to alleviate any confusion. What’s left are indications this may have been the “epic” the director longed to make—roughly two years in production, it’s epochal, sprawling, noisy, with a cast of literally thousands. On the other hand, maybe there’d be no real improvement if given his cut, because we still have to overcome the Star as a half-caste. Gardner doesn’t act, she reacts; she hits her marks and hopes for a good take, and doubtlessly counting on her enormous likability to be enough of an asset to withstand her lack of convincing characterization. (Her appeal is at low ebb, perhaps due to a brutal rape scene she filmed and from which she had a difficult emotional recovery.) There is, however, during a Sikh ceremony, a very close close-up—the biggest and longest of her career?—confirming Ava as one of the screen’s greatest beauties. Cukor resisted Granger, wanting Trevor Howard. Beyond our comprehension Ava could ever fall for that pocked sadist. Though Cukor wanted to make the movie in India, the government demanded script approval and 12% of the net profit; Pakistan was next choice and much more agreeable. Despite all the problems, Bhowani Junction was a hit. Text COPYRIGHT © 2007 RALPH BENNER All Rights Reserved.
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