The Painted Veil (1934)

Slow pace in the most part of the movie.

Your blood may run cold, but you now find yourself pinioned to the story.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

An old-fashioned movie made with new-fashioned finesse.

I absolutely loved the 2006 version w/Naomi Watts, Edward Norton, & Liv Schreiber. I so loved the 2006 version that maybe I was a bit prejudicial in my judgement at first. However, since reading the the book, I have come to redetermine the outcome of both. I have always said "I can make a better movie in my head, than any film producer, Director, Etc ever could" because I would always choose to go with the story that compelled the public (by the author) in the first place. In most cases I have read the book first. Thus, I would want the film to end with what W. Somerset Maugham chose as an ending in the 1st place. The 2006 version made me weep---the 1st didn't even come close---it was a pale imitation--even though it wasn't imitation.

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 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.

Spoilers for those quote haven't read the book and seen the movie... WSM's novel is a tragic tale harkening back to the works of Shakespear and featuring simliar traits; love, lust, devotion, betrayal, and in the end death and regret. The film does a good job of capturing most of the novel (though it would have been nice to see a longer film which could have included more of its scenes). However, the end of the film differs greatly from that of the novel. In the novel, Kitty/Katherine never grows to truly love Walter but also never gets to tell him how much she thinks of him, because he dies of cholera. Also, the bit about her being pregnant (most likely with Townsend's child) is not included in the film. It seems the filmmakers decided to trade in that rather bleak ending for the more Hollywood happy ending. So if you've read the novel, you might be a bit disappointed with the great tragedy being traded for a more standard "happily ever after" ending. But most of the rest of the movie is good.7/10