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Teska drama,o mladoj zeni koja se udaje za coveka,pod pritiskom roditelja,prema kome nista ne oseca,....Nezadovoljna bracnim zivotom,ona njega prevari,sto on naravno sazna i postavlja joj ultimatum : Da ode s njim u malo,kinesko selo u kome je zavladala kolera ( on tamo zeli da ide da bi pomogao tim ljudima da sprece dalje sirenje zaraze i obolelima ) ili da natera coveka s kojima ga je varala da ostavi svoju suprugu i da je ozeni....Ne uspevajuci ovo drugo da postigne,nevoljno odlazi sa muzem u to malo selo.....I tu se nastavlja prica,njihov zivot tamo i dalje razvijanje njihovog odnosa....Prica je izuzetno teska i Edvard Norton kao i Naomi Vots su sjajno odradili svoje uloge....Radnja filma nije preterano dinamicna,ali to nije umanjilo kvalitet filma po meni....8/10
Ima nesto u tom sto me neces...
Hvala na preporuci, bas ono sto sam trazila.
Sjajna Naomi, iako je njen lik mnogo manje upecatljiv od Nortonovog.
Norton nacisto neodoljiv. Ovo je, valjda, ona uloga u kojoj nikako nisam mogla da ga zamislim. Po prvi put za mene, uverljiv, kompletan, besprekoran.
Odlicna hemija izmedju njega i Naomi.
Upecatljivi dijalozi, neke replike sigurno necu zaboraviti. Sarmantan britanski akcenat, i maniri datog vremena. Lepa scenografija.
Ovde nema patetike, ima izneverenih ocekivanja, nerazumevanja, otudjenosti, povredjenosti, osvete, usamljenosti, ocaja, samospoznaje, prihvatanja... i razumevanja bez reci.
A long journey it is.
9/10.
The actors know what's at stake here, and they rise to the challenge. "The Painted Veil," so unlike most pictures that get made today, only seems conventional. (And it didn't get made overnight: Norton, who is, with Watts, one of the movie's producers, and who studied Chinese history at Yale, worked for years to get it off the ground.) Watts plays Kitty with the right mix of sharpness and vulnerability. She doesn't play a character hit by a grand revelation; her transformation is seamless and believable. And Dryburgh knows just how to enhance the '30s-starlet quality of her carriage and bone structure: He lights her in a way that suggests the velvety glamour of George Hurrell photographs.
When I saw the trailer for "The Painted Veil," I winced as I listened to Edward Norton -- an actor whose work I generally like -- deliver one or two of his lines. He seemed overly stiff and mannered, even for a straight-arrow character; I wasn't convinced that this performance was going to be much.
But Norton's performance is expansive in a way that can't be captured in a trailer. Norton is an extremely formal actor, and even in contemporary roles, he has the quality of a time-traveler, as if he's been transported from an era you can't quite pinpoint. That serves him beautifully here. In an early scene, he appears on the doorstep of Kitty's family home, wearing a bowler hat; when he removes it, there's more forehead under there than you ever imagined -- it starts at the eyebrows and goes on forever. His Walter is a grave, thoughtful man, exactly the sort of fellow a woman could easily marry, only to begin wondering immediately what kind of boredom she's set herself up for.
Walter's burden is that he knows he's that kind of guy, and his awareness of that -- the way he pads into Kitty's bedroom on their wedding night, tentatively, in his slippers and meticulously pressed pajamas -- makes him far more vulnerable than Kitty is. In the course of the story these two people, husband and wife, are barely separate from each other for a day, and yet they have to go the long way around the world to find each other. "The Painted Veil" gives us a sense of the size of that world. And sends us home knowing that not even the big screen is big enough to hold it.
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