I like the storyline of this show,it attract me so much

Best movie ever!

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

The acting is good, and the firecracker script has some excellent ideas.

J. Lee Thompson's adventure (retitled FLAME OVER India) is a dramatic tale of an hazardous train journey to take Indian Prince Kishan (Govind Raja Ross) out of the clutch of Muslim rebels and into safety. The passengers comprise a diverse group - the brave soldier Captain Scott (Kenneth More), the feisty doctor's wife (Lauren Bacall), the impassive governor's spouse (Ursula Jeans), a British bureaucrat (Wilfrid Hyde White), an arms-dealer (Eugene Deckers) and a Dutch journalist (Herbert Lom) who turns out to be a saboteur in disguise.Thrillingly photographed by Geoffrey Unsworth in India, NORTH-WEST PASSAGE contains some spectacular sequences as the beaten-up old train plows across the Indian landscape under Gupta's (I. S. Johar's) control. Frequently attacked by Muslim rebels, who are seen galloping towards the train on horseback, the passengers manage to repel them with a combination of luck and sheer courage. The film does contain its fair share of stereotypes: Hyde-White's Bridie is suave yet naive; Jeans does a fair job of sustaining her stiff upper lip in the face of adversity; while Bacall shows a commendable disdain for British authority (as an American, she is accustomed to having her own way).Yet the film is a fascinating product of its time, as it tries to transmit a liberal message at a time when the British Empire was in the process of breaking up. More's Captain Scott is both brave yet fair (it is no coincidence that his name should recall that of the intrepid polar explorer, immortalized in SCOTT OF THE ANTARCTIC (1948)), and tries his best to look after the Prince. While Lom's Van Leyden possesses violent instincts, he continually castigates the British for their desire to divide and rule: what is evident from the Governor's wife's behavior, both towards the Prince and to a little Indian baby they find on the way, is that she is not interested in power, but rather trying to help people in distress. Likewise Bacall makes every effort to look after the Prince, as well as helping Scott out when all seems lost. Whereas the British are still in power - the action takes place in 1905, some forty-three years before India gained independence - they are more than willing to share it, and thereby ensure that everyone is entitled to equal treatment under the law. Such policies were also pursued at the end of the Fifties (when the film was released) as the British oversaw a series of peaceful transitions to independent government in both Africa and Asia.

"One day in front of the Municipal Office I saw a little girl trying to drink her mother's milk. But the girl did not realise that the mother was dead." - Bhovani Shen Directed by J. Lee Thompson, and filled with astonishing widescreen photography, "North West Frontier" spends its first ninety minutes conning you into thinking you're watching a great film about the British Empire's bloody misadventures in India.The plot? Kenneth More plays Captain Scott, a dashing British Army officer tasked with protecting Prince Kishan, the young son of an Indian King. In this regard, Scott escorts Kishan out of a besieged fortress and into a rickety old steam train. In this train, Scott hopes to evade the Prince's attackers, a band of Muslims who are part of a nationwide uprising. Also on the train are a doctor's wife who "detests soldiers" (Lauren Bacall), an anti-colonialist journalist (Herbert Lom), an opinionated arms dealer, a chauvinistic aristocrat and various other British ex-pats. In other words, the train is populated by a cross-section of figures who offer interesting and conflicting perspectives on late 19th century Imperialism.One must remember that the 1950s, 60s and 70s saw the British Empire begin granting independence to its colonies. As these social reconfigurements took place, Great Britain felt the need to rehabilitate its past and rationalise the "good old days" of Empire-building. These outbursts of patriotism (and "revisionism") also served the more important task of helping to distract from the erection of new forms of exploitation and/or control. The year of "North West Frontier's" release, for example, British Colonialism was still killing hundreds of thousands in Kenya. British rule of India, whether it be directly during the years of the Raj, or during the years of the East India Company, was likewise responsible for countless deaths (almost two billion over an almost 2 century period). Divide-and-conquer tactics were used, local kings and rebels were armed against one another, taxes were used to cripple locals, land was taken from Indians, India itself was turned into a giant factory for export, nourishing crops were destroyed in favour for producing textiles and opium for foreign markets, designed famines were rife, uprisings were violently crushed and so forth. In addition to this, the usual racist attitudes were prevalent, Indians uniformly viewed as subhuman. Winston Churchill, for example, would bluntly state "I hate Indians. They are a beastly people with a beastly religion" and Lord Hastings would describe Indians as "mere animals", "limited", "with no higher intellect than a dog or monkey".Though "North West Frontier's" premise initially allows for a nuanced view of the Britsh Raj, it finally degenerates into Empire Denial. The Muslim rebels are ultimately evil and horde-like (how dare they kill cute kids!), the Hindu Kings are "thankless" fools who betray a Britain which gallantly risked life and limb to both protect the people and maintain "local order", and pacifist women (Bacall) learn to "appreciate soldiers". The train in the film is itself nicknamed "Victoria", the late 19th century queen who oversaw most of the Raj's worst excesses. In the film, Victoria does the opposite, providing stability, safe-haven and protection to her disparate passengers.Interestingly, "North West Frontier" was co-written by Patrick Ford, son of John Ford. The film itself plays like a John Ford picture, with dusty heroes, stagecoaches under attack, marauding hordes of faceless Indians and a landscape dotted with cavalry charges and military outposts. Though the film ultimately ends on a reactionary note (Captain Scott is never anything less than a hero), its first three acts are somewhat complex for an adventure film, and director J. Lee Thompson's direction is impeccable, with compositions reminiscent of David Lean, excellent location shooting and several fine set-pieces.7.5/10 – See Pontecorvo's "Burn", "Guns at Batasi" and "Decision Before Dawn". Read J. G. Farrell's excellent "The Siege of Krishnapur".

Set in the North West Frontier of British controlled India Captain Scott is ordered to take the young son of the Hindu maharajah to safety when the local Muslims rebel; they wish to kill the young prince as he is a symbol of the controlling powers. The prince is accompanied by his American governess Catherine Wyatt. After escaping from the maharajah's palace to Haserabad they learn that it is no longer safe their either. The last train load of refugees has already departed so if they are to escape they will have to rely on an old engine that had long been relegated to shunting duties... her Indian driver is certain she is up to the task though. As well as the captain, the prince and his governess the train is carrying an elderly administrator, the governor's wife, an arms dealer and a Dutch reporter as well as two Indian soldiers. Once they have broken the blockade they must travel through hostile territory where the line has been damaged and the rebels will take no prisoners! As they travel they will have to work together if they are to survive; something that isn't helped by the fact that one of the passengers isn't quite what he seems.This is a proper 'Boys' Own' adventure with the protagonists getting into one scrape after another. The action is pretty exciting and when the rebels attack it is always in impressively large numbers. Most such films dwell on the action without showing any of the aftermath but here it is different as at one point the train comes across the site of a massacre and we aren't spared the sight of lots of bodies scattered across the railway lines and in the carriages as Catherine searches for survivors. In between the exciting moments as we get to know the passengers as they talk with each other and show their various beliefs and prejudices. Kenneth More did a fine job as Capt. Scott and Herbert Lom was particularly good as Mr. Van Leyden the reporter who isn't quite what he seems. I was pleased to see that the key Indian characters were played by Indians; so many films of the time (and later) just relied on white actors with a bit of make-up and an exaggerated accent! Overall this is well worth watching if you want an exciting adventure that is suitable for all but the youngest children.

Rebellion is breaking out in India and all that stands in the way of religious and political chaos, not to mention British control, is a six-year-old Hindu prince and the unflagging confidence of Captain Scott (Kenneth More). Charged with bringing the boy safely from a small, fortified hill station to the British base at Kalapur 300 miles away, Captain Scott will need every bit of his resourcefulness, energy, ingenuity and pluck. The year is 1905 and Muslim tribes in India's north west territories are rising up against the Hindu princes and their British masters. Young prince Kishan is seen as a symbol of order and justice. If the rebels can kill him, there will be uprisings against the British which they may not be able to control. But how to get the prince to Kalapur? The last refugee trains have left and attempting the journey by horseback through enemy territory would be madness. But then Captain Scott remembers there was an old, derelict steam locomotive, The Empress of India, in the train sheds. Could it be put back into service? He calls upon his friend, Gupta (I. S. Johar), who assures him in broken English that his locomotive will not fail Captain Scott and that Gupta, himself, will run it. In a trice Gupta brings needed maintenance to The Empress and Scott finds himself loading an assorted group of passengers onto the one passenger car. There is Lady Wyndham (Ursula Jeans), the governor's wife; Peters (Eugene Deckers), an arms dealer whose weapons now most likely arm the rebels; Mr. Bridie (Wilfred Hyde-White), a diplomat and old India hand; and Van Layden (Herbert Lom), a reporter who has no love for the British. Most importantly, there is the prince and his American governess, Catherine Wyatt (Lauren Bacall). On this desperate journey, Captain Scott and this group of passengers will encounter massacres, the old steam engine's urgent need for water, the hard work of replacing rails, the tense clamber over a blown bridge with only the rails remaining, then the careful driving of the engine across those shifting, sagging rails, and the mass attacks of Muslims on horseback racing to capture the train and the prince. More troubling, Scott discovers that his group harbors a traitor, someone determined to either kill the prince or see that the boy is killed. Only the best traditions of British military leadership, exemplified by the publicly confident but privately worried Captain Scott, plus the vital assistance he receives from a number of the passengers, enable North West Frontier to have a happy ending. For Captain Scott, the ending is even happier. Not only has he fulfilled his mission, it appears that he and Catherine Wyatt will have a future together. This film is a throwback to the classic movies about the British Empire and the quality of the brave men who made the Empire possible. It's all fiction, of course, but it's greatly entertaining. Films like Drums and The Four Feathers reassured many that the British Empire would always be around and that the men who made it work were...well, gentlemen; that is, dedicated to bringing order, opportunity and justice to the natives as only British gentlemen could, and who always dressed for dinner. While this movie arrived in the theaters as the underside of empire was becoming known, it still tells a cracking good yarn. There is a bit too much exposition, in my opinion, offering justification for and against the Empire's rule in India (and the pro side wins the argument most of the time). It also seemed to me that the villain of the movie is far too easily identified. One final weakness is that the pairing of More and Bacall doesn't really work; they have such different personalities that their attraction for each other and their eventually pairing just doesn't strike any sparks for me. Still, the movie offers some grand adventures, great scenery, a journey on a steam train, brave derring-do, a typically forceful and optimistic performance by Kenneth More, and a nice reminder of why adventure stories are so much fun.