El séptimo pecado

Somerset Maugham's novella from 1925, inspired by an episode in Dante's 'Purgatorio', has been filmed three times over a period of seventy years with decidedly mixed results.

This second version credits Ronald Neame as director but for reasons which are not readily apparent but can easily be guessed at, he left the production which was then assigned to Vincente Minnelli. Anyone curious as to the extent of Minnelli's contribution should read the earlier review by John Howard Reid who got it straight from the horse's mouth.

By Hollywood standards this adaptation by Karl Tunberg is reasonably faithful to the original with a few exceptions. Selfish social climber Kitty has now become fundamentally decent and self-effacing Carolyn of Eleanor Parker whilst the love rat is no longer a suave Englishman but a suave Frenchman played by Jean Pierre Aumont. The character of Carolyn's husband has become rather one-dimensional in the hands of Bill Travers and this actor's limitations are all too obvious. As Waddington the inveterate gossip, George Sanders is excellent and reminds us once again what a very fine actor he could be when granted the opportunity whilst the always-good-value Francoise Rosay lends gravitas to the proceedings as Mother Superior.

Miss Parker had earlier played Mildred in Maugham's 'Of Human Bondage' which was shelved for two years and badly received on release and the reception given to this one was not much better. These disappointments do not reflect badly on her performances and she remains one of Hollywood's finest, if somewhat underrated actresses who always gave her best regardless of the material.

As one would expect from MGM the production values are first class with Miklós Rozsá providing one of his best scores. Although not as entertaining as Boleslawski's bowdlerised version with Greta Garbo it is, for this viewer at any rate, far more engrossing than the more recent attempt by John Curran.

Somerset Maugham's novella is highly recommended and one in which he draws upon his own loveless marriage, his knowledge of medicine and of course his customary scalpel-like dissection of the human species.

I love Somerset Maugham's novels, but they tend to be full of internal monologues and emotional and spiritual struggles that can be difficult to dramatize (his short stories make much better material for movies). THE PAINTED VEIL is a terrific book and a good read, veering from sexual melodrama to spiritual regeneration, full of psychological insight, tension and vivid descriptions of life in China during a cholera epidemic.

But this movie is just dreadful. It's dull, literal-minded and a travesty of a great story and promising concept. The credibility problems start (but don't end) with the fact that handsome Bill Travers was miscast as the cuckold. Tall and masculine with sensual features, a brooding sexiness, and a resonant, beautiful voice, it's absurd that we are expected to believe he is unappealing to Eleanor Parker. How can she not want to grab him and ride him ten ways from Sunday? I have often liked beautiful Eleanor Parker, but her archness here is hard to take and not what the part needs. The only bright spot is George Sanders, cast against type as a warm, sympathetic guy.

One thing I'm curious about is why Vincente Minnelli abandoned the project (his name appears nowhere in the final credits). Had he directed it (preferably in Technicolor) it might at least have been more enjoyable. Skip this dreary soap opera. Or if you see it and actually like it, read Somerset Maugham's novel, which is far better and certainly more entertaining.

Given the premise I expected this to be high camp. It wasn't. I'm sure the Garbo version was over the top.

The actors do a good job. The director kept everyone reigned in. The script isn't too bad. You don't feel like you're watching some tawdry melodrama.

The film is about maturing and forgiveness. About the difference between infatuation on love.

Will Eleanor Parker repent and ask her husband's forgiveness and grow to love him and want him back? Will her doctor husband forgive her infidelity? Does Ellen Corby speak with a believable French accent? Do they survive the cholera outbreak?

You'll just have to watch and find out.

Originally, I had no intention of watching this film on TCM, but the presence of Bill Travers got my attention, and I gave the movie a shot.

Frankly, I am surprised at how much I enjoyed it. All of the leading performances are excellent, and the back lot filming appropriately evokes the implied locations. Sanders is, indeed, the most thoroughly explored character, supporting or not. Travers portrays the brooding husband quite effectively, and Parker has perfected the role of a selfish woman in many films.

Having not read the original novel, I cannot comment on the translation to the screen. However, as a stand-alone film, the results are intriguing, and well done. "The Painted Veil" certainly makes a better title, however.

"The Seventh Sin" from 1957 stars Eleanor Parker, Bill Travers, George Sanders, Jean-Pierre Aumont, and Francoise Rosay.

Parker plays Carolyn Carwin, living in postwar Hong Kong with her husband, Dr. Walter Corwin (Travers) but is having an affair with Paul (Aumont). She never really loved her husband - she used him to get away from her family - but he has always loved her. For reasons known only to herself, she finds him physically repulsive. Bill Travers? That was the first dumb thing.

Walter is going into a remote village to fight the cholera epidemic. He gives Carolyn a choice - she can accompany him or he will cause a huge scandal in the divorce. Then he suggests a third option - if Paul will divorce his wife and marry her immediately, he won't give her any trouble. He knows full well that Paul won't divorce his wife and is proved correct. The two leave for the village.

Once there, they meet Tim Waddington (Sanders) who picks up on their marital problems. Gradually Carolyn becomes aware of her husband's dedication to his work and her own selfishness and narcissism.

Previous versions of The Painted Veil take place in an earlier time, and the trip to the village is harrowing. It becomes obvious that Walter hopes his wife dies, or he doesn't care, and he certainly doesn't care if she contracts cholera when they arrive. Post- WWII, they don't have a bad time of it travel-wise.

Parker is beautiful as the imperious Carolyn, who finds the village a growing experience, and Sanders cast against type is a real bright spot, giving a wonderful performance. There are nice scenes between Carolyn and the nun at the orphanage (Rosay) who understands Carolyn better than she thinks. Travers is sympathetic as the hard-working doctor who only wanted to love his wife and have her love him.

The Maugham story of The Painted Veil is a strong one, but it's hard for this version to compete with either version, the 1934 with Greta Garbo or the 2006 with its brilliant cinematography. Though it's not as good, it is still absorbing. I haven't read the story, so I'm not sure what the original ending is - all three versions have different endings.