Proving that they can, in fact, make 'em like they used to, The Painted Veil is a well-crafted period drama that's propelled by a fine script, lovely location work, and terrific performances by two of our most reliable actors, Edward Norton and Naomi Watts. Adapted from the novel by W. Somerset Maugham, the story unfolds in 1920s China, where dweeby bacteriologist Dr. Walter Fane (Norton) is en route from Shanghai to a rural village to study—and hopefully find a cure for—a cholera outbreak.
Along for the arduous journey is his new wife Kitty (Watts). During their time in Shanghai, the vivacious newlywed grew a little too close to a handsome diplomat (Liev Schreiber). When Walter learned of her infidelity, he presented her with an unenviable choice: divorce and public humiliation or exile as part of his humanitarian mission. To call theirs a loveless marriage would be an understatement and that shared loathing is what keeps them bound together. Kitty would be perfectly happy if her spineless husband catches cholera and for his part, Walter comforts himself with the knowledge that if he does fall prey to the epidemic, at least he'll be taking his cheating wife with him. But as the Fanes settle into their new lives, a strange thing begins to happen: they learn to respect, admire and even like each other. For the very first time, they might actually be falling in love.
In a movie season populated by singing dreamgirls, fire-breathing dragons and Will Smith as the World's Greatest Dad, the premise of Veil can't help but sound dreadfully dull. The film's trailers and print ads haven't advanced its cause, pitching it as the high-toned Merchant/Ivory production that Merchant/Ivory never made. So it's a nice surprise to discover that, far from being a bore, Veil is completely absorbing. It's a movie that understands the simple pleasure of seeing a good story told well.
To that end, director John Curran (who previously helmed the mediocre angstfest We Don't Live Here Anymore) cedes center stage to screenwriter Ron Nyswaner's accomplished adaptation, as well as his two stars. Scene for scene, Watts and Norton deliver note perfect performances, depicting their Fanes' complex relationship without showboating for the camera. Watts in particular has a difficult task, playing a character who is a spoiled brat as the film begins and tracking her gradual transformation into a woman of substance without the audience rolling their eyes at the contrivance of it all. It's a role that could easily lend itself to awards-friendly histrionics, but the actress remains grounded at all times. Despite a shaky accent, Norton is equally believable as a man who prizes rationality in all areas of his life, except when it comes to his wife. And let's not forget the film's third star, the Chinese countryside, which is beautifully photographed here by Curran and his cinematographer Stuart Drysburgh (The Piano). If The Painted Veil ultimately lacks some of the novelty and ambition of the year's best pictures, it still ranks as one of 2006's quiet gems.
Copyright © 2008 Hachette Filipacchi Media U.S., Inc.