O Véu Pintado

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)

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.

GARBO...the five-letter name, synonymous with glamour and mystery, fills the screen and overwhelms the film's title and the rest of the cast. The legendary actress, Greta Garbo, warranted the outsize billing, and her glowing image dominates this romantic triangle based on a novel by W. Somerset Maugham. Dr. Walter Fane is a research assistant in Austria, and he harbors romantic intentions for Katrin, the daughter of his superior. Summoning the courage to propose, Fane quickly weds Katrin, and the pair head to China, where Fane's friend, Jack Townsend from the British embassy, aggressively courts the often neglected Katrin. Further complications ensue when a cholera epidemic breaks out, and Fane insists that Katrin accompany him further into the Chinese interior, where she will be separated from Townsend, and he will fight the disease.

As Katrin, Garbo is luminescent. No surprise as to why, because she was photographed by William H. Daniels, who lensed 21 Garbo films, and was garbed by Adrian, who dressed her in some of her greatest roles. The screen goddess, a moniker the actress richly merits, is flawless in dress or image, whether profile or three-quarter view, close-up or full figure. When she quickly wraps a white scarf around her hair to go out, she emerges as pure elegance in full length white attire. Displaying all the mannerisms that her audience adored, from the fluttering eyelids and raised eyebrows to the subtle trembling of her mouth, Garbo is reason enough to see "The Painted Veil." Whether watching a Chinese pageant that resembles an act from the Ziegfeld Follies or running through streets filled with panicked Chinese, Garbo's makeup is pristine, her clothing spotless, and her air poised. The term "star" was coined for a screen presence such as hers.

Not surprisingly, Garbo's two male co-stars in the film pale in comparison. While neither Herbert Marshall nor George Brent were particularly memorable actors, they were often paired with strong actresses like Garbo or Bette Davis that unfairly cast them into the shadows. However, both Marshall and Brent were skilled and acquit themselves well here, although cognizant that audiences were there to see Garbo and not them. Whatever merits the Maugham novel possesses, the film's brief 85-minute running time is rushed, and motivations are not particularly convincing. The Marshall-Garbo marriage seems arbitrary and loveless from the start, and Townsend's pursuit of his friend's wife is a cold-hearted stab in the back. However, audiences did not come to analyze the characters or the plot, they came to see Garbo, and she gloriously commands attention in "The Painted Veil."

Garbo is luminous in this adaptation of the Somerset Maugham story "The Painted Veil." It's a beautiful, lavish production with great direction from Clarence Brown. The story is a nice adaptation, if truncated. The stars are in especially fine form. George Brent plays a convincing cad. Herbert Marshall is in the role he always played best, as the sincere and kind, but neglected, husband. Other reviewers who noted the morality of the story are correct--this is one of those films which inspires those who watch it to be good people. The moving love story wins the viewer over by the end of the film.

The score and cinematography were lush. The Asian sets were intriguingly exotic and fun to look at. Also interesting were the title scenes at the beginning of the film, in which the name GARBO stays behind the credits. Truly indicative of the heights Garbo's star power had reached by the time THE PAINTED VEIL was released!

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.