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In past years this would have been the time of year for the period dramas of Merchant and Ivory to be released. The Painted Veil reminds several critics of those films. This third version of W. Somerset Maugham's novel receives respectful reviews from most of them and much praise for the performances of Edward Norton and Naomi Watts

in the leading roles from nearly all. (The two stars are also producers

of the film, and Norton, in particular, was said to have worked

diligently to bring it to the screen.) Manohla Dargis in the New York Times

calls Norton "an inveterate stealer and masticator of scenes" who is

"very fine here." She writes that Watts, whose character keeps her nose

in the air throughout "risks our love and earns our awe, ensuring that

we never lose sight of the woman even when the film almost does." Bob

Strauss in the Los Angeles Daily News writes that the film

expands on Maugham's original insights and ideas. "The result," he

concludes, "is a thoroughly grown-up movie that compellingly thinks its

way through the toughest matters of the heart." But Carina Chocano in

the Los Angeles Times takes the filmmakers to task for

remaining "at a British remove." She continues, "It's hard to see this

lush and stately adaptation ... as anything other than a missed

opportunity for some prime psychological spelunking into the dark

regions of the soul."

 

Alguma informação sobre o lançamento no Brasil?

-felipe-2007-06-04 20:21:01

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Exclusive Interview: Naomie Watts

 

"The Painted Veil"

Posted:   Monday, December 18th 2006 4:56AM

Author:   Paul Fischer

Location: Los Angeles, CA

There was a time that Australia's Naomi Watts, now 38, was so insecure

about her profession that she was ready to give up altogether. That was

then, this is now. Her professional insecurities behind her, Watts has

now attained a position by which she can equate a comfortable security

with the ability to take greater risks as an actress, admitting, "I

think I really used to fight with myself over how to make decisions,

because I always thought my next job would be my last," the actress

says, curled up on a sofa in a Los Angeles hotel room. "But I have

settled into a place, not a comfort zone, but believing that this is

not necessarily the last thing, yet you always want to make your

decisions carefully, as long as they are for yourself, not for anybody

else."

 

 

Despite her growing stature as one of Australia's most in demand

international stars, Watts has remained reticent to embrace mainstream

Hollywood, last year's King Kong notwithstanding. For Naomi, it's not

budget but character that is of primary importance to her. "Yes, the

character is definitely the thing that appeals to me. It is not like I

am just seeking independent and obscure films, and that I am pooh

poohing a studio movie,

but I think it is just often the characters, directors and perhaps it

the less controlled environment and the intimacy of an independent film

set, that always ends up being more collaborative."

 

Watts'

passion for a particular project comes to the surface as she attaches

herself as both star and producer, as in the case of the latest

adaptation of Somerset Maugham's The Painted Veil, which opens in

select cinemas across North America in time for next year's Oscar

nominations. The Painted Veil is a love story set in the 1920s that

tells the story of a young English couple, Walter (Edward Norton), a

middle class doctor and Kitty (Watts), an upper-class woman,

self-absorbed and equally self-destructive woman, who get married for

the wrong reasons and relocates to Shanghai, where she falls in love

with someone else. When Walter uncovers her infidelity, in an act of

vengeance, he accepts a job in a remote village in China ravaged by a

deadly epidemic, and takes her along. Their journey brings meaning to

their relationship and gives them purpose in one of the most remote and

beautiful places on earth.

 

 

Watts is no stranger to playing flawed women, as she laughingly

concedes that "I've certainly played a few in my time. So now I am

looking for the perfect lady, but I am not sure that she exists."

Painted Veil, she says, instilled further passion in her, simply

because "I think it is such a great love story, that you can really get

swept up in - the fact that people, no matter what, can change. So that

is kind of what you want to believe in human beings, but it is not

always so easy."

 

 

It was Kitty's "fantastic transformation" that she says just "leaped

off the page to me. To make that really work, you have to play out

those beats and that means committing to her flaws, even at the risk of

losing the audience interest and writing her off as some vacuous,

shallow, self obsessed, irritating person. You have to play those

moments, because out of them comes something much greater which is that

after the crisis she grows and finally gets into the true depth of

herself, and stops sort focussing on what she thinks she should be or

what she is, and actually taking in everything that is going on around

her and letting her true self awaken."

 

 

Watts admits that she found Kitty surprisingly easy to identify with.

"I found her very human, because she thinks she is supposed to behave a

certain way and thinks she is liked for these reasons, and when really

those people aren't necessarily liking her for those reasons. They are

just on the same kind of path of self-destruction and not allowing her

to grow or find herself in any way. So I think it is someone you can

 

relate to, because she is sort of stuck and a little bit dead inside,

but there is a real goodness to her."

 

 

Partly the film explores the notion of family pressure and dealing with

expectations that Kitty fights against. This is one facet of Painted

Veil Watts does not see in her own life, despite embarking on a

profession full of risk and lacking convention. "I never really felt

like my family was trying to mould me into anything and when I told

them I wanted to be an actor, it was never poo poohed, but t wasn't

particularly encouraged either. Because there were no other actors in

my family, the decision was completely born out of my own thinking, yet

there were a lot of creative people in my family so for that reason, it

was definitely encouraged." Watts denies being something of a

non-conformist, but rather "I would say that I can reject someone

trying to push me into something, but I also find myself trying to fit

in a lot of the time. Yet if someone tries to tell me to fit in, I will

reject it, so does that make me a non-conformist? I think from moving

around so much as a child, I felt an incredible need to blend and fit

in."

 

 

That nomadic lifestyle she endured as a child has further manifested

itself in her work as an actor, as she travels the world, from rural

China to London, for the sake of her art. "I enjoy the gypsy living,

but I find it very frustrating as well." Yet the actress has settled

into a new home, recently buying a house in the trendy Los Angeles

suburb of Brentwood, but not even that is completely permanent. "I

don't know that I want to live here forever, but I do have a home even

though I guess that house could be anywhere. But the idea of having a

home has really centred me as a person."

 

 

It doesn't seem that the perennially busy actress has time to enjoy her

new home or for that matter return to Australia this Christmas to

attend her brother's engagement party ["I'm just too busy working so I

think I'll stay here this year"]. In between promoting The Painted

Veil, the actress returns to London where she is the middle of shooting

David Cronenberg's Eastern Promises, a political thriller in which she

plays a midwife. Denying it's a weird Cronenberg film, Watts sees it as

"a good juicy thriller that focuses around the Russian Mafia Mobsters.

It is not too weird at all, but it is not completely formulaic and a

really good script."

 

 

Watts also completed a new film, Funny Games, by unconventional

Austrian director Michael Haneke. Watts says that her life could not be

more content. "Certainly it feels pretty good to be able to jump from

things like King Kong, to doing a Michael Haneke movie, a Cronenberg

movie and just bounce around in all different places." But after

playing so many intense characters, she says "I would like to do

something lighter. I hate to think I am being repetitive. Someone said

to me once that [Jean Luc] Godard said, 'Good film makers make the same

film over and over again.' Now I not saying that I am not trying to

pull myself in with the likes of Godard, but if you are a creative

person, you are trying to tell the story that is based in truth and

perhaps the story that I am approaching is one that is not afraid to

face the struggles of what it is to be a woman."

-felipe-2006-12-29 22:55:26

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Não tem uma data de estréia confirmada não? A Warner costuma passar filmes da Warner Independent para outras distribuidoras como foi o caso de Boa Noite e Boa Sorte e Camisa de Força. Devido à isso, filmes como For Your Consideration, The Science of Sleep e Infamous ficam com futuros incertos. Parece que A Scanner Darkly sai dia 2 de fevereiro, vamos ver se agora é pra valer.

 

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Elegant Period Romance Enraptures

 

by Scott Holleran

 

 

 

 

 

Made in China under the control of its communist government, co-produced by actors Edward Norton and Naomi Watts—who also star—The Painted Veil is nevertheless a beautiful motion picture about one Western couple's incredible journey into a primitive Chinese village.

 

The old, diseased town, in a depiction which may

have gone unnoticed by Chinese censors, is ruled by faith and force,

and its existence is entirely dependent on the rational mind of an

arrogant Western scientist played by Mr. Norton, who delivers another

knockout performance after his spellbinding title turn in The Illusionist.

 

Like that movie, The Painted Veil is produced

by the Yari Film Group, which lavishes the production with impeccable

detail. Based on the 1934 novel by W. Somerset Maugham, written by Ron

Nyswaner (who wrote the searing Philadelphia), directed by John Curran and perfectly scored by Alexandre Desplat (The Queen), the movie recreates China in 1925, when cholera is literally causing superstitious villagers to drop dead in the street.

 

Flashing

back to Mr. Norton's awkward bacteriologist falling in love at first

sight with the spirited but self-centered Kitty (Watts), it is

abundantly clear that they married for the wrong reasons—and it is soon

apparent that, somewhere between the accepted marriage proposal and

this miserable rural outpost, something horrible happened.

 

Watts is completely engaging as impetuous Kitty,

sauntering around in her party dress, lingering a second too long in a

glance toward her father's direction and too insecure to value her

assets, let alone love a man for his virtues. She has the tools before

she knows how to use them.

 

As Dr. Walter Fane, Mr. Norton is magnetic, looking

upon loose-limbed Kitty with an intense blend of innocence and awakened

desire. Posted to Shanghai, he tries unsuccessfully to satiate Kitty—he

is too tidy—and she has trouble letting in the light. The poor pair is

so close, yet miles apart.

 

When Kitty inevitably strays, he lets her have it.

Punishing the adulterous bride—and himself for having loved her—Dr.

Fane travels to a backward but beautiful and mountainous region of the

Far East, where he accepts an assignment to treat the cholera epidemic,

dragging his cheating Kitty along. Stranded in south China, seemingly

doomed to die, Dr. and Mrs. Fane play out the tense, silent disturbance

of an unhappy marriage.

 

Wrecked and ready to succumb to death in China's

shrouded, jagged hills, the curtain cascades around them. A gentle

Catholic nun (Diana Rigg) mothers the shamed Kitty while a

pleasure-seeking Toby Jones (Infamous)

and his strange-looking Manchu lover (Yu Lin) offer escape from inner

turmoil. As the good Western doctor rightly tries to rehabilitate the

ignorant villagers—whose irrational thoughts threaten to wipe out

everyone's existence—he is rewarded with loyalty by a young apprentice

and aided by a colonel who understands what moves mountains in China.

The bodies pile up and the natives grow restless, but man and woman

embrace and lift the veil.

 

Whether Mr. Norton rides horseback across the land

or nationalism rises amid marital bitterness, there is Desplat's soft

theme set to scenes of peace and quiet. Will the doctor punish the wife

with certain death—or will they perish together? Can love, once lost,

be regained? Can the woman-child learn to love a man for his honor?

 

The answers, sometimes tragic, unfold gingerly, like

ripples from a boat moving across a river at dawn, as happens in a

memorable moment. Actions have consequences, a man's spirit is

restored, and a romance is revived, with a serene, lasting effect that

holds interest—and almost makes China seem irresistible. Story, music

and pictures are smooth and enthralling.

 

Mr. Norton just gets better, Naomi Watts has finally

done something good and with bravura performances from Anthony Wong as

a military colonel, Jones as the foreigner, and Miss Rigg as the

kindest Mother Superior in decades, The Painted Veil stands beside The Illusionist as one of 2006's grand yet gentle triumphs.

 

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Interview: Edward Norton

 

"The Painted Veil"

Posted:   Monday, December 18th 2006 4:56AM

Author:   Garth Franklin

Location: Los Angeles, CA

In his decade-long career Edward Norton has been nominated for two

Academy Awards, and won a Golden Globe along with numerous other awards

for his performances. His impressive resume includes such flicks as

Primal Fear, Everyone Says I Love You, The People vs Larry Flynt,

American History X, Rounders, Fight Club, Keeping the Faith, The Score,

Death to Smoochy, Red Dragon, The 25th Hour, The Italian Job, Down in

the Valley and The Illusionist.

 

 

The film Frida, for which he wrote an uncredited screenplay, was

nominated for six Academy Awards and won two. In 2003 he won the Obie

Award in for his performance Off-Broadway in "Burn This," by Lanford

Wilson. He produced and directed the film Keeping the Faith, produced

Down in the Valley and is currently producing five other films

including Dan O'Brien's Buffalo for the Broken Heart and Jonathan

Lethem's Motherless Brooklyn for which he is currently writing the

screenplay. Norton also founded and runs Class 5 Films in partnership

with his brother Jim Norton, writer Stuart Blumberg and producer Bill

Migliore. The Painted Veil is Class 5's second major film release this

year.

 

 

Norton is a committed social and environmental activist and after

acquiring this project, manage to convince Naomi Watts to sign onboard.

For five years, Norton, screenwriter Ron Nyswaner and producer Sara

Colleton had been developing an adaptation of this W. Somerset

Maugham's 1925 novel, and they were hoping to finally get it produced.

Now they have and he sat down recently to talk about the film to the

press.

 

 

Question: What was it about this material that instilled such passion in you that you stuck with it for so long?

 

 

 

Norton: [i've been with it for] seven years. I

guess, simply put, I think that, like anybody who loves movies, when

you watch David Lean films, or a movie like 'Out of Africa,' or

something like that, you cannot help, as an actor, but think how fun it

must be to have one of those kinds of experiences, and what a challenge

it must be to make films with that kind of scope. I don't think many of

those films get made, and I think, a lot of times, when they get made,

they don't get sent to me. So, when I saw one that I thought had that

potential in it, it was very hard to stop ruminating on it. And, on a

specific level, I thought, as an actor, it was such complicated [story].

 

 

I don't tend to see my life reflected in movies about people who meet

when their dogs tangle up. I'm not being specific. I'm just saying I

thought that it was the kind of romance that touched me. I felt like it

was a story about the long struggle of men and women to actually

understand each other in a forgiving way, and I found that very

touching because it's challenging. It's a challenge to say, 'Am I

capable of that?,' or 'Have I done that? Have I been forgiving, myself?

Have I had the courage to forgive somebody ever?' And so, when you have

that kind of response to a piece of material, to me, it's a good place

to start because you already see what you can offer through it and what

it might give back to people watching it. All of that, to me, is rare.

Those things don't bang across my desk every week, or every year, so

all of that made me very persistent about it.

 

 

Question: Your character can be so vicious in

some of the scenes. Does that help you get out any kind of aggression,

or passive aggression, in some of those moments?

 

 

Norton: I don't think there's any of us who

can't relate to the desire to poison our loved ones. [Laughs] No. I

don't know. I don't think I use acting as an outlet for things I don't

get to express in life. I don't know. And yet, there's some sort of

funny satisfaction in that. Maybe it's a way of venting off things

inside you. I don't know. I sound high falutin, but I always gravitated

myself to Stella Adler, who's one of the really great thinkers about

acting. She was always saying that, fundamentally, she considered it an

imaginative process, and I kind of agree with that. Other people, I'm

sure, have completely different attitudes toward it. I'm just saying

that, for me, personally, I enjoy the imaginative part of it.

 

 

Question: What did you like about the character, and was it tough for you to get the English accent down?

 

 

 

Norton: No. I think those things are almost

like musical ear. There was a dialect coach on the film. I have never

liked dialect coaches, but for this, we had someone I thought was

actually incredibly helpful. Any time a character emerges in slices and

keeps deepening in revealing levels that were not obvious on initial

encounter, that's very compelling.

 

 

Question: How do you think people meet each

other, nowadays, since you say you can't identify with people in films

who meet when their dogs tangle with each other?

 

 

Norton: I said that jokingly, but actually a

really good friend of mine met the love of his life when their dogs got

tangled. So, I'm just saying it didn't happen in my life. I'm not

saying it doesn't happen.

 

 

Question: Do you believe in coincidence?

 

 

 

Norton: Sure.

 

 

 

Question: Can you talk about your experience with China prior to this film?

 

 

 

 

Norton: I only missed the air conditioning one

time, the entire time. Mostly, we had air conditioning. I'd spent some

time in China because my father lived in China for a long time, but I

had not been to the big cities, Beijing and Shanghai, and I had not

been where we filmed, in South Central China, in the mountains there.

The experience of all the places we worked was new and fresh to me, and

really wonderful. It's wonderful to work with Chinese colleagues and

initially feel like you're struggling to communicate across the

language barrier, and then, in a fairly short time, find that you have

much more in common with these people who also do what you do. They're

your brothers in filmmaking, and they know the same things you know.

You find the little quirks of the way they work that is different from

the way you work, but on the whole, I liked it much more than just

being a tourist. I liked it much more than just traveling through a

place. To work in a place and know the people is much more rewarding.

 

 

Question: Did you pick up the language at all?

 

 

 

 

Norton: No. I can't claim any facility with Chinese.

 

 

 

Question: What did you discover about Naomi Watts from working with her? Anything surprising?

 

 

 

 

Norton: Just one observation among many, but

when Naomi showed up in Beijing, she was very tired. She was coming off

'King Kong' and, the first week of the filming, we had to do a lot of

those scenes in the house in China, which are some of the heaviest

scenes in the movie. That was, literally, the first week of filming and

it was very, very, very challenging to do that without reference points

of what the scenes are before. She was very tired, and I almost saw her

take a deep breath and do that thing that I think really, really good

actors do, which is, instead of combating the state that she was in,

she just took it and put it right into the work.

 

 

 

She just embraced the way she was feeling in that moment and said,

"Well, that's what this is. I'm not going to try to layer something

over it." The thing that was beautiful about it was that it was perfect

for the state Kitty is in. I think any actor who's worth anything

fights the eternal struggle between what goes on [in their head], and

the releasing of that and just getting into it. It's great when you're

working with someone and you watch them make themselves available to

the moment, as it is. It's beautiful. It's great. I really can't say

enough good [things] about her. It was almost certainly the most

intimate interaction I've had with another actor. I haven't done a film

where the two roles were that inextricably intertwined with each other.

I just could not have asked for a better tango partner.

 

 

 

Question: Is it difficult to do love scenes?

 

 

 

 

Norton: Not when you've worked with the people

for a long time. Not if it's embedded appropriately deep in the

process, so that there's trust and comfortability. I think by the time

we worked on that in this film -- and it's a modest scene with nothing

too difficult about it -- we wanted them to be together. It's nice.

And, it's also very technical. A lot of it is akin to dancing and

choreography. It needs to be choreographed.

 

 

Question: What's next for you?

 

 

 

 

Norton: I made a film called 'Pride and Glory,' but it won't be out until next year.

 

 

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  • 4 months later...

Meu Deus !!!!!!!!!!!

 

Naomi e Norton em um mesmo filme !!!!!!!!!!!!!!

 

Como é bom estar ignorante diante de algumas coisas para receber uma boa notícia dessas 13

 

Será que estão vendendo ingressos antecipados ?05

 

Tá vendo só ... tô parecendo um fãzóide acéfalo ... 06
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felipe' date=' eis o link. E conserta o nome do tópico não é "O Véu Pintado" e sim "O Despertar de uma Paixão". 03.gif [/quote']

Valeu Bernardo.

Só não gostei dessa tradução, extremamente clichê.12

 

 

A%20imagem%20“http://www.cinemaemcena.com.br/filmes/4205/cartazes/small/paintedveil_04.jpg”%20contém%20erros%20e%20não%20pode%20ser%20exibida.

 

Uma paisagem belíssima. Um país ameaçado. Uma história de amor. Após a traição de sua esposa Kitty, Walter Fane, um introspectivo bacteriologista, aceita trabalho voluntário em um pacato vilarejo infectado pelo cólera. Sem escolha, Kitty muda-se com Walter. Uma grande jornada de reclusão e auto-conhecimento dará novo significado ao relacionamento e irá reascender a paixão entre os dois, num dos lugares mais bonitos e remotos do planeta.

-felipe-2007-06-04 20:30:13

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Meu Deus !!!!!!!!!!!

 

 

 

Naomi e Norton em um mesmo filme !!!!!!!!!!!!!!

 

 

 

Como é bom estar ignorante diante de algumas coisas para receber uma boa notícia dessas

 

 

 

Será que estão vendendo ingressos antecipados ?

 

 

 

Tá vendo só ... tô parecendo um fãzóide acéfalo ...

 

 

 

Ih Thiago, liga não. Eu já vou confessando: sou fãzóide de Norton desde "Todos Dizem Eu Te Amo" e da Naomi desde "Mulholland Drive". Ambos perfeitos em todos os filmes q participaram. 10.gif16.gif

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Tô ansioso!!!! Adoro os dois, e tenho certeza q eles possuem química, nunca erraram, mesmo em seus piores filmes. Mas tb tenho certeza q não vai chegar aqui no dia 22. Vou ter q me segurar um pouco e ver "Bem-Vindo ao Jogo", q estreia na mesma semana, mesmo tendo mau pressentimento quanto ao filme do Hanson. Pena" 09.gif04.gif

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meu deus' date=' norton e watts, puta que pariu! já ate vejo a perfeita qumica.10[/quote']

 

Eles tem uma ótima química sim.

Ps ; Puta que pariu que tradução tosca 0714

 

Ganhou de trilha sonora, Thiago
Beckin Lohan2007-06-06 11:43:57
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