The Painted Veil

Greta Garbo stars with Herbert Marshall, George Brent, Warner Oland, and Jean Hersholt in "The Painted Veil," from 1934, based on the novel by Somerset Maugham. Garbo plays an Austrian woman, Katrin, who grabs at the chance to marry her father's research assistant, Walter Fane (Marshall) after her sister marries and leaves home. At first, they are happy, as Katrin gets to see parts of the world she hasn't seen. Soon, however, she becomes lonely, as Walter is busy fighting a cholera epidemic.

Katrin falls for Jack Townsend (George Brent) from the British embassy, and the two enter into a passionate affair. Walter finds out; then Katrin is humiliated when she realizes that Jack cares more for his reputation than her and does not seem willing to get a divorce. Walter insists that she travel with him as he goes deeper into China to fight the epidemic; she realizes he just wants her to get sick and die.

Garbo is incredible in this film - warm, sweet, and flirtatious in the beginning, and rising to the dramatic challenges later, she gives a beautifully layered, sympathetic, and powerful performance. Marshall is very good, as is the rest of the cast - but Garbo just walks away with the whole thing. A very unusual presence and talent, very passionate and committed. It's such a shame that she didn't pursue opportunities for films in Europe after the war.

Also, the Chinese atmosphere (totally MGM backlot) feels very authentic.

This film ends differently from the 2006 version. Though I liked the 2006 version, it lacks the magic of this one. Magic, spelled G-a-r-b-o.

The future looked a little uncertain for Greta Garbo in 1934. Under pressure from the rampant, crackpot Catholic League of Decency whose members were boycotting movie theatres and declaring 'purify or destroy Hollywood', the usually malleable Joseph Breen was obliged to make even stricter the Production Code. 'Mata Hari' was cut and 'Queen Christina' taken out of circulation whilst this adaptation of Somerset Maugham's 'The Painted Veil' needed to tone down its so-called sexual content and instead reflect moral values.

These factors alone cannot entirely explain why this film disappoints. Garbo's scenes with Herbert Marshall are excellent and there is a chemistry between her and George Brent owing to their relationship at the time being more than just professional. It just lacks that 'alchemy' by which everything comes together and falls below director Richard Boleslawski's usual high standards.

Garbo need not have worried as David 0. Selznick was soon to come to her aid. Whatever its flaws and despite being the least faithful to Maugham's original it remains, for this viewer at any rate, the most entertaining of the three versions. 'The Seventh Sin' of Ronald Neame and an uncredited Vincente Minnelli is rather lacklustre whilst it is probably kinder to draw a discreet veil over the most recent version directed by someone named John Curran.

Based on a book by W. Somerset Maugham of the same name, The Painted Veil tells the tale of Katrin Koerber (Greta Garbo) who is lonely after her sister's marriage, with whom she was very close. She agrees to marry her father's research associate Dr. Walter Fane (Herbert Marshall) who takes her to China. However, he is deeply involved with his work and often neglects Katrin in favour of his work which leads her to seek love and attention from another man: Jack Townsend (George Brent).

Although I have been unsure of Garbo's acting abilities at times, she does well and truly shine in the role of the unfaithful and confused wife - a complex character which she masters with ease. Herbert Marshall does a good job of her husband caught between emotions and George Brent – not a terribly good looking man – was unconvincing as her lover. These two men seem to fade into the background when Garbo is on screen – her exotic; cat like appearance really captures the audience – despite not playing a glamorous character!

The scenery of old China is lavish and the costumes for Garbo are a pleasure to see. However, the divine Greta Garbo is the only thing that really makes The Painted Veil watchable. The plot is thin and weak but Garbo does a wonderful job and makes the melodramatic material believable and interesting. Not a great film, but watch it for Garbo.

The best adaptation of Maugham may be "The Letter," but this version of "The Painted Veil," which substantially changes his ending, is very nearly as good-- as subtle, as elegant, and as satisfying as a work of art. Both examine the profound differences and similarities that exist between passion and love, but this film goes deeper, looking at the glory that ensues when, at length, love and passion bloom together.

Much credit goes to William Daniels, who was D.P. for directors from Stroheim to Ichikawa to Bud Yorkin. His framing and silvery lighting give even greater weight to the superb performances by Garbo and the masterful Herbert Marshall. Together Daniels and director Boleslawski allow the two actors to deliver the very affecting and very adult dialog with rare dignity and feeling.

The two kitchen scenes in particular, one in the first sequence, and one near the end, are flawless, and all the better because of being parallels, and because the dialog employs the sheer force of elemental simplicity. In the second scene,when cholera-fighting Marshall finally speaks of his wife's infidelity, he humbly takes some of the blame, saying, "I went blind… a little mad. But if all the men who were hurt simply quit — bad business." Garbo at last begins to understand and replies, "Being in love, and letting it smash things as I have, I thought it had the right of way, I really did." She finally realizes that passion, such as hers for her lover, can be both deeply felt and utterly shallow.

One more note about the visual genius on display. A standard cliché, fireworks,is used to suggest orgasm, but it is done as brilliantly and thrillingly as I've ever seen: three or four bursts of sparks shoot into the frame, like nothing so much as ejaculation.

When I watched THE PAINTED VEIL, I thought that a remake should be made. Because the story has so much potential which couldn't have been explored sans restrictions in a movie made in the 1930s. Oddly enough, when I watched this film (early spring of 2006), it was announced that a remake of THE PAINTED VEIL was in the works and it's starring Naomi Watts in the role of Katrin. Well, after hearing this bit of news, I guess a good remake has yet to be made because casting Watts in the role played by Garbo is, well, ludicrous.

The best thing about the Garbo version of THE PAINTED VEIL is Garbo herself. She outshines the whole movie. Remove her from the film and, frankly, there's no reason to watch it. Garbo plays a very difficult role and pulls it off successfully. She beautifully underplays her role, which could have easily been fodder for scenery chewing if played by other actresses of that era. Watts has big shoes to fill.

The worst part of this version are two male co-stars, who aside from being almost indistinguishable from each other, are dull. It's hard to believe any woman would be interested in either of them, character or look-wise. And the production values, though good, aren't the most effective. Even though the budget was supposedly high for that time, there's a cheap, rushed feel to it (it was shot in two months!). No location film-making in China here. Another problem is the script which is obviously a truncated version of the W. Somerset Maugham novel. Something tells me big parts of the book were left out and the story in the film looks half complete. But the basis of this odd romance is still there and I find it fascinating. It's sorta like an anti-romance romantic story, or a reversed romantic story, which I've rarely seen before and having Garbo in this was perfect casting, because of she was such an unconventional star.

I rate the movie a 5 but because of Garbo, I give it a 7.

(P.S.: I finally read the book and did not like it at all. The Garbo film is an actual improvement)