The Painted Veil is one of those movies I was interested in, but never made the time to go see. Even with the DVD in hand, I approached the viewing as if it were a chore. Now that I have watched it, I am happy to report that it is a beautifully crafted film that combines a realistic depiction of a relationship with a view of China circa the 1920s, creating a film that is gorgeous to look at and fascinating to watch.
The film is based on the novel of the same name by W. Somerset Maugham. It is the third filming of the story, previously getting the big screen treatment in 1934 and then again in 1957 (as The Seventh Sin). I have not seen either of those, nor have I read the book, so any comparisons to the source/prior interpretations is a no-go. No matter, the film is strong enough to stand on its own as a highly dramatic film with a well-developed screenplay, fine acting, and gorgeous cinematography.
The story centers on the relationship between Kitty (Naomi Watts) and her husband, Dr. Walter Fane (Edward Norton). The film begins with their meeting in London, where the proper Doctor courts the more liberated Kitty, and they soon marry. Shortly after the wedding, the new couple relocate to Shanghai, where Dr. Fane, a bacteriologist, was to work on his studies. It is here where the film slows its pace. Up to this point the film seemed to cover a lot of ground in very little time, moving quickly from their initial meeting, to marriage, to the trip to Shanghai. I was not sure I was going to like it. Sure, it was well acted and gorgeous to look at, but the narrative seemed somewhat lacking. That was all about to change as their life in Shanghai settles in.
Walter is married to his work, and Kitty, looking for a stronger emotional bond, finds it in an affair with Charlie Townsend (Liev Schreiber), another official stationed in Shanghai. It is not long before Walter discovers his wife's dalliance, and their relationship takes a turn. The exposure of the affair leads to an ultimatum which takes our unhappily married couple to a small village in the throes of a massive cholera epidemic. It takes the relationship to the next level, an uncomfortable purgatory for both of them.
To say more of their lives would be to tell too much. The film is a journey of a couple that never should have been a couple in the first place learning something about each and reaching some sort of middle ground, some level of co-existence. It mines the idea of a doomed relationship surviving and becoming more than it should have been. It truly is a beautiful sight to watch as these characters develop against the backdrop of a China in crisis.
The performances are first rate, in particular Naomi Watts' portrayal of Kitty. Kitty is complex and full of emotion, a woman who believes in her liberty and her right to personal happiness. We watch her grow and mature as a human being and look below the surface of her husband to find something different, and it is beautiful. Edward Norton is good, though the performance seems to be a bit too distant, and even bland. At moments that distracted from what I thought of the character. It was still interesting to watch his arrogance almost prove his undoing as he tries to do what he thinks is best, despite what the locals think, as well as his attempt to punish his wife as the two scarcely acknowledge each other. Even when it doesn't completely work, it still manages to strike all the right chords.
The screenplay, by Ron Nyswaner, is well developed and has a strong arc for the lead characters. The screenplay allows them to develop as individuals as they learn about themselves, each other, and this distant land they find themselves in. It is fictional romantic drama set in a world based on historical fact, where the history does not overshadow the drama. Very strong work that really draws you in and holds your attention, following those fast-moving first twenty minutes.
John Curran directs, and he brings an eye for the artistic to the screen, his framing and slow camera moves highlighting the beautiful Chinese landscape. He lets the actors' performances carry the film, and this is not a flashy movie. I would be remiss if I did not mention the director of photography, Stuart Dryburgh, who brings life to the brown and green tones of the film. Then there is the beautiful score from Alexandre Desplat, a soft and beautiful string-based score that really plays nicely with the film.
Audio/Video. The image is presented in anamorphic widescreen in its original aspect ratio of 2.35:1, and it looks very good. The film has a very monocrhomatic feel to it, with little in the way of bright colors, but the tones we do get are beautifully rendered here, with no noticable artifacting or halos that I saw. Audio is presented in Dolby Digital 5.1, and sounds fine. Nothing terribly exciting, but the soundstage is nice.
Extras. None. That's right, nothing. I think a commentary would have been great.
Bottomline. Despite the decidedly lackluster release in terms of extra material, this is a beautiful film that I should not have avoided for so long. It is a journey of discovery, of both self and partner, and it plays out in such a way that you cannot help but feel for them and become involved in their plight and that of the people around them. In short, see this movie — you will not be disappointed.
Highly Recommended.
Christopher Beaumont spends much of his time writing about entertainment when he isn’t sitting in a movie theater. He is known around the office as the “Movie Guy” and is always ready to talk about his favorite form of entertainment and offer up recommendations. Interests include science fiction, horror, and metal music. His writings can be found at Draven99’s Musings, as well as Film School Rejects.
