Veil blends politics and romance only a bit less clumsily than The White Countess, another movie about pre-war China that came to grief.
The Painted Veil (2006)
Tomatometer
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Reviews Counted:140
Fresh:103
Rotten:37
Average Rating:7.1/10
Consensus: Visually, The Painted Veil has all the trappings of a stuffy period drama, but Norton's and Watts's deft portrayals of imperfect, complicated characters give the film a modern-day spark.
Rated: 12A [See Full Rating] for some mature sexual situations, partial nudity, disturbing images and brief drug content
Runtime: 2 hrs 5 mins
Genre: Dramas
Theatrical Release:27-04-2007
Synopsis: The third film version of Somerset Maughm's 1925 novel--directed by John Curran--is ripe with stunning Chinese locales and a smart turn from Naomi Watts as Kitty Fane, the aging English socialite... The third film version of Somerset Maughm's 1925 novel--directed by John Curran--is ripe with stunning Chinese locales and a smart turn from Naomi Watts as Kitty Fane, the aging English socialite who must put herself in strange and turbulent surroundings before she finds her true self. A complex and beautiful international production, this adaptation benefits greatly from the lack of restrictions that inhibited its previous incarnations in 1925 (with Greta Garbo) and in 1957 (as THE SEVENTH SIN). After pressure from her wealthy parents to settle down, Kitty marries mild-mannered bacteriologist Walter (Edward Norton), despite her lack of love for him. Shortly after their vows, he takes her to Shanghai, where she immediately has an affair with Charles Townsend (Liev Shrieber), an English Vice Consul. Walter becomes aware of Kitty's indiscretion and promptly whisks her away to the mountain village of Mei-tan-fu, where they befriend another English expat, the secretly decadent Deputy Commissioner Waddington (Toby Jones, in an extremely likable performance). Walter begins working to hold an encroaching cholera epidemic at bay---leaving Kitty to ponder her role in the situation as death looms over the village like a specter. A labor of love that took the better part of a decade for producer Norton and screenwriter Ron Nyswaner, THE PAINTED VEIL is a large, complex, and visually sumptuous production that employed a primarily Chinese crew on its intense location shoots. Norton's passion for the material is on full display, as he turns in another solid performance. Watts, however, who portrayed another unfaithful wife in Curran's previous film WE DON'T LIVE HERE ANYMORE (2004), is the heart of the film, all bee-stung lips and sweat on porcelain skin. Romantic, escapist entertainment in the best sense, THE PAINTED VEIL is yet more proof that there is an endless pool of silver screen potential in the classics of literature. [More]
Starring: Naomi Watts, Edward Norton, Liev Schreiber, Diana Rigg
Starring: Naomi Watts, Edward Norton, Liev Schreiber, Diana Rigg, Yu Xia, Lu Ying, Toby Jones
Director: John Curran
Director: John Curran
Screenwriter: Ron Nyswaner
Composer: Alexandre Desplat
Studio: Warner Independent
Reviews for The Painted Veil
Feels like a Masterpiece Theatre production -- solid enough, but at the same time oddly generic.
For filmgoers who long for the days when adventurous filmmakers such as David Lean placed fascinating, flawed characters in sweeping, historic settings, The Painted Veil is a most welcome motion picture.
The characters are extraordinarily well-drawn, and Watts and Norton both do fine, subtle work.
This tale of strangers in a strange land has been fashioned as a poignant love story, with its buried passions forcefully breaking the surface as the film rounds the bend toward its satisfying conclusion.
The marital problems played out by Naomi Watts and Edward Norton are of trivial concern when set within a cholera epidemic in China.
The always surprising Watts creates a woman at once contemporary and retro. And Norton, as a producer as well as star, concedes enough space for Schreiber and the effortlessly fascinating Jones to earn their own spotlights.
Sweeping vistas, period-piece sets, impeccable literary source, a little stolid at times, but ultimately quite impressive.
The Painted Veil uses its narrative limits to make its political case, that privilege breeds ignorance.
This adaptation of the W. Somerset Maugham novel contains more anger and sexuality -- altogether more passion -- than other beautifully appointed period films of its class.
Many story elements are predictable, and they rely on superior acting to make up for other shortcomings.
A case of filmmakers being too enamored of classic source material to pump enough blood to bring a film version to life.
Neither Walter nor Kitty is a saint, and neither becomes one. But we see a love of virtue take root in this relationship as Kitty stumbles toward a kind of redemption.
Redemption comes far too late in The Painted Veil, an aloof and disappointing adaptation of W. Somerset Maugham's 1920s novel that features one of the more unlikable, self-involved main characters in recent memory.
The movie is not grim, even as it endangers a wise nun and her gaggle of orphans in its most unfortunate melodramatic moments. Rather, it suggests the possibility of mutual healing, of people working together in love.
A lovely trifle not unlike other well-done bits of instantly-forgotten prestige.
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