Beautifully painted
Of
all the noted writers of the 20th Century, has any suffered more
at the hands of filmmakers – at least in recent times –
than W. Somerset Maugham? Contemporary audiences were most likely
introduced to his work by the misguided 1983 film The Razor's
Edge with Bill Murray, based on one of Maugham's short stories.
Then came the largely-ignored Up at the Villa (2000)
and Being Julia (2004). And now we have American (and
sometime Australian) director John Curran's version of The
Painted Veil.
Perhaps a little surprisingly, Maugham's work was
the subject of many more films while he was alive, with his plays
The Letter and The Constant Wife; and his story
'Miss Thompson' proving fruitful fodder for filmmakers. The
Painted Veil itself was previously made into a film –
in 1934 with Greta Garbo in the lead role. Curran's version is
probably closer to the original text; although still not a precise
re-telling of the story.
Curran worked with Naomi Watts previously on his
excellent drama We Don't Live Here Anymore. That obviously
made an impression, as Watts and co-star Edward Norton have producer
credits on this film. And while this tale of love and betrayal
in an exotic land might seem a world away from the contemporary
melting-pot of his earlier film, thematically, they're not all
that different.
Watts plays Kitty, a young English woman pressured
by her family into marrying the earnest but rather dull Dr Walter
Fane (Edward Norton). Walter is a microbiologist working at the
government medical laboratory in Shanghai. He takes his new bride
back with him to the East. In Shanghai, the heat and Walter's
long hours at the lab soon see Kitty looking farther afield; specifically
at the haughty British consul in Shanghai, Charlie Townsend (Liev
Schreiber). When Walter finds out about the affair, he gives Kitty
a stark choice – divorce him and marry Charlie, or come
with him to combat a cholera epidemic in the interior. When Kitty
presents the option to Charlie he, in Kitty's words, let's her
down. So she decides to join Walter on the arduous trek to the
heart of the outbreak. Once there, Kitty finds things are very
different from Shanghai – including the armed guard who
watches her every move. But with the help of the local British
representative, Waddington (Toby Jones) and some rather determined
nuns, she comes to see a different side of Walter.
If
you know your Somerset Maugham, you'll know there's a tragedy
in the offing (albeit not exactly the one described in the book).
If not, I'm certainly not going to say who the tragedy befalls;
but it certainly makes for some poignant moments towards the end.
Most won't need a box of tissues, but a couple is probably advisable.
Curran showed with We Don't Live Here Anymore
that he certainly knows his craft; and The Painted Veil
only reinforces that. Working from Ron Nyswaner's script, he constructs
a film as delicate and beautiful as its title suggests. His efforts
are aided by some stunning cinematography from Stuart Dryburgh
– shooting on location in China which adds to the authenticity
of the piece - and by Alexandre Desplat's haunting score.
Despite not gaining the accolades of some other
Aussie acting exports, I personally think Naomi Watts is up there
with our finest. She brings so much to the role of Kitty, it's
difficult to even describe in words. It's something you have to
see to appreciate. Edward Norton seems made a bit of a speciality
of period films recently (although he'll break with that and be
seen as Bruce Banner in the new version of The Incredible
Hulk later this year). Here, he gives Walter the kind of
scientific detachment that's just right for the role. Liev Schreiber
(Watts' other half in real life) is suitably dapper yet caddish
as Charlie; while Toby Jones is once more excellent as Waddington.
Look out for one-time Avenger Diana Rigg, who's basically unrecognisable
as the Mother Superior at the convent.
Although The Painted Veil won't be to all
tastes (there are no explosions, monsters or car chases), it's
a superior work from Curran who's growing into a consummate film
professional. Sadly, it's taken nearly 2 years for the film to
reach these shores, but for those who appreciate quality cinema,
it should prove worth the wait.
David Edwards
