tswapnil I personally like Rahul Bose movies a good actor. The movie starts in British India where a Sahib dreams of making some cash through the cashcrops in kerala. He has a girl working at his place and they are in love with each other. The romantic scene in water is good and Nandita definitely looks HAWT in there. SAjani is being forced to marry against here will is in mad love with this sahib who later leaver her alone when his child and wife comes back to country. Sajanis husband finds out and beats her. She makes a rescue and an attempt to live with sahib who turns her down. Depressed sajani shots herself at TK(rahul bose) place. Sahib with help of TK drowns her. Villagers later find out her body.A tragedy film. Rahul bose has acted well in his serious role. There you get to see a bit of rural India and the old custom. The LIE DETECTOR test of rural India ... watch it to get it.

selffamily I had seen this in my local DVD rental story and was waiting my turn to see it, convinced that it would be worth it. Frankly, I found it long winded and tedious. The main character has taken advantage of the local woman and she is besotted with him, convinced that he will 'save' her from everything, abandon his lifestyle, family and wealth for her. all this in a time when Indians are wanting India for themselves - odd that. I found it hard to be sympathetic to those two to start with - as a previous reviewer has noted, some of their actions were just unbelievable. The acting however, is very good, very convincing and my heart went out to TK (the real hero) and the planter's wife, who were both victims here. The scenery is stunning, the skies alone make it worth the dollars spent to watch it, but alas the story comes to an unsatisfactory ending, one is left wondering what will become of the real hero, and not really caring much about any of the others. I am sure it was a product of its time, that this situation arises wherever there are masters and servants, but you can't make a hero out of a cad, however brilliant an actor he is.

sbutterworth-2 I would not call this a film of love and longing at all. The situation is set up in the opening scenes, then it becomes a story of hard realities with no good choices and no happy endings in the disintegrating Raj. The setting is tribal India, not often depicted in literature or film. Beautiful as one might expect from a Merchant Ivory production; intelligent writing and acting. Rahul Bose's character and acting are especially notable. The arrogant Englishman doesn't come off well in this serious drama. The literary term "naturalism" comes to mind. The characters have no control over forces stronger than themselves, thus the metaphor of the monsoon rains.

Chris Knipp Somerset Maugham was a master of colonial adultery. His short stories are full of it, men and women in this or that corner of the British Empire getting themselves into devastating marital fixes. In 'Before the Rains,' the Indian cinematographer and director Santosh Sivan muddles his tropical tragedy of adultery as Maugham would never have done.Henry Moores (Linus Roache) is a planter in the Kerala province of India where a fresh revolt against the British Raj is just brewing; it's 1937. He is having an affair with his beautiful native housekeeper while his wife and young son are away on an extended stay in England. On an idyll gathering honey in a sacred grove Moores and his housekeeper are spotted by two little boys while making love (though, lucky for him, they don't recognize Moores). Shortly thereafter Moores' wife and son return to India and trouble ensues that disturbs the house and the planter's ambitious project to build a freight road up over the hills. He was meaning to expand from tea into spices--generously promising to share the resulting profits with his local assistant, T.K. (Rahul Bose). T.K. is a childhood friend of Sajani, the housekeeper (Nandita Das) and lives on the premises, having in his possession a pistol Moores has just given him as a reward for his help and loyalty. Three guesses what that's going to lead to.In Maugham's stories the equations are simple and relentless. So are they here, but the power and focus of the story are undermined by the way not just one but all three of the main characters try to dodge the inevitable while the lovely lens of Sivan dwells overlong on the scenery indoors and out. Sajani is understandably unable to accept that she's dispensable. Moores, who is either spineless or a fantasist, tries to pretend nothing is amiss. T.K., who has one foot uneasily planted in each of two opposing worlds, thinks he can protect his Sahib and still not become an outcast in the village. But the village is a place to whose laws T.K. remains subject and in which Sajani still lives with an angry husband. The latter is already suspicious of her even before the boys tell their story and is permitted by the local code to beat her, just because he cares.Maugham would have brought things to their highest pitch in the awful moments when Moores's wife Laura (the usually excellent Jennifer Ehle, rather wasted here) looks for cheer or affection or even just ease from her husband and he cannot oblige. But Sivan hasn't enough time to draw the full value from that. He's busy with too many other things--the trap Sajani gets into; T.K.'s dilemma; the impending revolt; delays that may keep the road project from its necessary completion before the monsoon. There's much about the village system of justice, including a novel test of a defendant's truthfulness. There's even the repeated worry that Moores will lose the loan he took out for the road project. Maugham would wisely have paid a lot less attention to anything peripheral to the psychological and moral drama. The trouble is that Sivan's a bit like T.K.: he wants to work on both sides of the stream, shine his light on the colonials with their linens and khaki and bathtubs (and, like in Ang Lee's overwrought 'Lust Caution,' on their shiny period motor cars)--and also look into the village culture and the bonds of Indian family life. Besides which, he can't stop training his lens on the pretty surroundings, even though at this point they're certainly not a concern of the principals and shouldn't be ours.Everybody plays their role, nothing more: psychological subtlety is lacking. Sajani is beautiful and passionate and disappointed. Moores pleases everyone and no one. T.K. is sweaty and loyal. Moores' wife is confused, her final realization of everything coming in an instant with buggy eyes--no time for the slow burn. Though T.K. is pivotal, he isn't really interesting. We don't get to look into his mental confusion. This is no 'Passage to India', and subtle insights into racism and the breakdown of communication between cultures aren't forthcoming. As so easily happens when too many balls are being juggled, the pacing suffers and events just gradually lumber along. There's not much danger of giving away the ending because it's a muddle.The choice of a specific point of view would have sharpened and intensified everything. In the absence of that, the main characters lack complexity. Moores as played by Roache is almost a blank, hard to care about one way or the other. If only he were either a true romantic, or an obvious cad, but no such luck. If only T.K. had doubts, or were more foolish or overeager. Of course we care about poor Sajani, but this is most clearly not from her point of view: once she's in trouble, she is mostly off-screen. Ironically Moores' young son Peter (Leopold Benedict), though he hasn't many lines, seems as interesting as the others because he at least has an arresting face. We thought Merchant Ivory was a dead operation since Merchant himself literally passed away in 2005, but this is attributed to Merchant Ivory. It has the Merchant Ivory gloss but not the Merchant Ivory glow; in fact Ivory had nothing to do with the production. The director's earlier 'The Terrorist' was a vividly claustrophobic little story; interestingly, it was entirely and intensely from the protagonist's point of view, the thing that is so lacking here. Sivan has drifted, unfortunately, into a more conventional, diffuse mode.