The Painted Veil 2006 123movies

Watch: The Painted Veil 2006 123movies, Full Movie Online – This love story has Kitty (Naomi Watts) meeting young, intelligent, shy and somewhat dull Dr. Walter Fane (Edward Norton), whose forte is the study of infectious diseases, and the convenient marriage to which she finds herself committed. It is in this web of intrigue that they head for China, only after Walter discovers Kitty’s infidelity with the dashing and witty diplomat Charlie Townsend (Liev Schreiber). So much as to hide her from herself and to help thwart a cholera outbreak, this is a marriage more than on the rocks. This is a cold, indifferent, and loveless partnership in a vast unknown and deadly environment that will test both of these flightless lovebirds and with the hardships and tolerances more than any had ever anticipated. A visual delight amidst the pain and suffering of dying people and failing marriage. Will a cure be found for both, before it’s too late?.
Plot: A British medical doctor fights a cholera outbreak in a small Chinese village, while also being trapped at home in a loveless marriage to an unfaithful wife.
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Ratings:

	7.4/10 Votes: 93,413
	74% | RottenTomatoes
	69/100 | MetaCritic
	N/A Votes: 983 Popularity: 18.421 | TMDB

Reviews:

This movie seemed vaguely familiar to my wife like we had seen it before, but it all seemed new to me when we recently watched it. We both enjoyed it. I wasn’t concerned when a few reviews remarked that it moved slowly, as we have always appreciated movies that build a quiet story carefully, and mostly this one did that.

My only criticism is that at the outset of the movie, I didn’t quite believe that Walter was in love with Kitty. He said he was, but I wonder if a scene or two showing him falling for her ended up on the cutting room floor. He merely seemed to stalk her around the party and want to marry her before he left for China. Similarly, Kitty falling for Charlie didn’t seem well constructed. It felt like one scene they stared at each other, flirted a bit, and the next scene they are in bed.

But once I suspended that bit of disbelief, the film was great. Gradually Kitty develops as a character, and her marriage begins to be rebuilt from the rubble of her earlier actions.

The final scene, a few years after the action in the bulk of the movie, brings the story full circle in a satisfying manner. All around a fine movie well worth watching patiently.

I enjoyed this film a good more than I expected I would, based on the poor critical response and so-so viewer scores. Fortunately, Norton and Watts saved the film by turning in phenomenal performances. The real problem is that we never get totally invested in the characters. Nevertheless, The Painted Veil is a real love story.

Finely-observed colonial-era drama
When I was nearly eighteen, I married. To the prettiest girl at art college. Lack of confidence vanished with virginity. I loved her with unbearable, blinding intensity. We painted each other with unquenchable desire. What could go wrong?

Our film’s title goes back to a stanza:

“Lift not the painted veil which those who live

Call Life: though unreal shapes be pictured there,

And it but mimic all we would believe”

Shelley’s poem furnishes the title of Somerset Maugham’s oriental love story. That classic, set in the 1920s, has three times been made a film. Our latest offering comes like five-year incense from Sinophile Edward Norton, with screenwriter Ron Nyswaner (Philadelphia) and producer Sara Colleton.

Two people, whose characters are a million miles apart, wed in London. They travel to Hong Kong. Suddenly they can no longer play the game that society has set them. Facing their own true natures is a journey of discovery greater than geographical distance. Visually and emotionally restrained (given the passions and breath-taking scenery involved) the Painted Veil shines with intellectual integrity. If only you can get excited enough about it.

Brilliant bacteriologist Walter Fane (Edward Norton) only occasionally gives way to anything as unscientific as showing feelings. Kitty (Naomi Watts) is warm and natural, but marries Walter more because it seems like a sensible thing to do than for any over-riding love. She enjoys tennis and nice things. Walter derides such superficialities. And Walter speaks only when he “has something to say.” Kitty has an affair with government official Charlie Townsend, a charming and seductive married man who “made a science of popularity.” Walter correctly labels her as stupid to think he wouldn’t find out. Their trip to a cholera-infested village of Mei-tan-fu, a professional honour for Walter, becomes his journey of revenge.

Walter’s sense of superiority is impenetrable. Even though he vomits at his first sight of suffering, he finds a way to save much of the village from disease. Kitty is meanwhile wasting away through loneliness. They have yet to discover the real vibrancy behind each other’s mask. As they attempt to do so, the film challengingly asserts the contradiction of sexual versus spiritual love.

An emotionally unintelligent man discovering the tenderness and complexity of another human being, and a good (yet fairly shallow) woman appreciating her own potential – and the value of another’s great mind. But the symbol of the ‘veil’ goes much further. Norton says he wanted to ‘lift the veil’ on issues facing China in the 1920s. “If you’re going to make a film set in China during the period, I think there’s got to be a reason for doing it other than the inherent romanticism of the location.”

To Kitty, the work of the nuns (headed by Mother Superior, Diana Rigg) is laudable, especially with orphans. Walter, on the other hand, points out that they also pay parents for their children so as to indoctrinate them with Catholicism. Every Westerner is a colonialist of some sort, fuelling increasing resentment with the locals. Walter, carrying his torch of medicine rather than the fire of armaments, believes he is ‘neutral’. He is somehow ‘above’ the armed soldiers that he relies on. Yet his rationalism is shallow, limited to believing that if only people would embrace Western ways they would have it so much easier.

Kitty stays with Walter initially out of ‘duty’ but comes to question it when the Mother Superior says, “Duty is only washing one’s hands when they are dirty.” The philosophical challenge, echoed from Maugham, is whether duty and love can become one. This is the central tenet of the film. Walter, indubitably, seems to be following a higher ‘duty’ in saving people from cholera. Yet it is the experiencing of love in one form or another that gives meaning and fulfilment. That ‘love’ must be genuine but also under the domain of duty – else it leads astray. Walter’s initial ‘love’ is respectful, exact – and only with the lights switched off. Kitty’s is that of a gifted dilettante.

The performances are finely chiselled. Watts combines convincing sensuality and tenderness yet still gives her character room to express deep emotion later on. When Walter discovers her sexual liaison with Charles (played by Liev Schreiber, Naomi Watts’ real-life partner), he goes into heartless-bastard-mode. Norton (who majored in history at Yale) produces a convincing portrait of someone who is sharply intelligent and as precise as a scalpel. His painful awakening to the fact that humans are more than complex microbes is superbly judged. Polar opposites of smooth sleaze-bag Charles and straight-as-a-die Walter are movingly adjudicated by Deputy Commissioner Waddington (Toby Jones). He has more insight into relationships than the rest of them put together, yet are we misled by his persona? “He is a good man,” says the young Chinese woman that we saw him tussling naked and unashamed with moments earlier.

Going beyond what we believe another to be, whether we put them on a pedestal or in derision, may only be the first stage. Being away from familiar surroundings leaves nothing to fall back on. No painted veil.

This adaptation takes excusable liberties with the plot. It is true to the spirit of Shelley’s poem (I had to look it up to fully appreciate that, I think). It is a finely observed colonial-era drama that holds attention with a subdued dignity, quietly resisting the enticement to do a Merchant and Ivory. To the casual viewer it sometimes hangs between wasted opportunity and insipidness. But its themes are lovingly executed with skill and exactitude.

My marriage lasted precisely one year. We both decided to travel. If we had been isolated in a distant country like the protagonists of this film, we may have discovered a more genuine love. Or killed each other. Unlike this sumptuous historical and emotional travelogue, the games we play don’t always paint a pretty picture.

Remake of Garbo Classic
Naomi Watts is every bit as good as Garbo was in the 1934 version, and Ed Norton is outstanding. Great supporting cast as well – Diana Rigg is almost unrecognizable as a Mother Superior, and Liev Schreiber is, as always, terrific as a slimy lowlife. Based on one of Somerset Maugham’s best stories, this is a movie that will satisfy anyone looking for an old-fashioned, romantic drama about love lost and love earned. The social quandary of British women after the first World War, which created a generation of unwilling spinsters, is taken as seriously by the filmmakers as the emergence of a new China standing up to its Colonial oppressors. Watts’ character’s journey from spoiled, selfish Daddy’s girl in 1920’s fun-loving London to a mature woman in a deprived, cholera-infested third-world country is harrowing.

Other Information:

Original Language en
Runtime 2 hr 5 min (125 min)
Budget 19400000
Revenue 26910847
Status Released
Rated PG-13
Genre Drama, Romance
Director John Curran
Writer Ron Nyswaner, W. Somerset Maugham
Actors Naomi Watts, Edward Norton, Liev Schreiber
Country China, United States, Canada
Awards 11 wins & 13 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix SDDS, Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium, Panavision Primo, C- and E-Series Lenses
Laboratory Atlab Film Laboratory Service, Sydney, Australia (processing), DeLuxe, Hollywood (CA), USA (color), EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,450 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 250D 5205)
Cinematographic Process Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format 35 mm (Fuji)