The Painted Veil is based on W. Somerset Maugham’s 1925 novel about British colonialism in China. The film's cohesion is largely helped by a user-friendly script from Ron Nyswaner (Philadelphia) who tackles amorphous movie-unfriendly themes like emotional longing. We meet Walter Fane (Edward Norton) a lovesick middle-class bacteriologist who spots Kitty (Naomi Watts) an upper-class socialite approaching the upper limits of marrying age at a party. Walter not smooth with women woos Kitty with his intensity and persuades her to join him in cholera-stricken China. With a wandering eye Kitty is soon caught in a lusty affair with a local British diplomat Charlie Townsend (Liev Schreiber) but Walter eventually forgives her but imprisons her in the desolate green south China countryside. The film's crucial problem is its setting of a Western-centric love story on top of a palette of Chinese human death and disease albeit framed beautifully and exotically. Norton and Watts take producers' credits as well. The actor pushed for years to get The Painted Veil made painstakingly and authentically co-produced with the China Film Board. These facts hint at the commitment and intelligence Oscar nominees Norton and Watts bring. Norton always impresses and surprises. Each role in his resume is tasty in its own way a wholly new creation and never derivative. In Norton's previous film The Illusionist he was a similarly powerful opaque character from a far away time and place. Although sometimes seeming she’s on autopilot Watts is also brilliantly underrated as the conflicted Kitty who doesn't love the man she married even though he loves her as much as she loves herself. Her tricky darting eyes mixed with uneasy body language tells us we don't know what to expect other than that she'll probably sabotage herself. Toby Jones--who played Truman Capote to critics' acclaim in Infamous--does a provocative turn as the mysterious opium-smoking neighbor. The Painted Veil falls short of greatness when the second half crumbles into laziness right when the emotional impact should be the strongest. Director John Curran is relatively untested ( We Don't Live Here Anymore) especially with difficult material and he stumbles a bit in this ambitious drama. Veil's storytelling meanders with a few unnecessary scenes. Lame mini-montages lapse into TV movie territory. Attention to detail however (minus Norton's highlighted hair) is superb. Four exquisite wisely picked Chinese locations were used in concert with local actors and crew to produce an internationally representative work of Chinese/American art. Interior sets are post-WWI prudish and upper-class underlying the movie's "painted " hidden ideas. Old-world rickshaws and water systems are true to the time. The haunting soundtrack feels postmodern and contemporary. But overall like last year's disappointing Memoirs of a Geisha the mish-mash of American and Asian story themes doesn't quite work.
Does hell exist or do we create our own? This is the larger question screenwriter Scott Kosar asks as we watch machinist Trevor Reznik (Christian Bale) stumble through his disintegrating world in this psychological thriller inspired by introspective mindbenders like Roman Polanski's The Tenant and Wim Wenders's The American Friend. From the moment we glimpse Trevor's freakishly emaciated frame it's obvious that something is eating him away from the inside the same thing responsible for his chronic insomnia. With apparently no Nytol or sleep aids available in his zip code a strung-out Trevor continues working at a dangerous industrial facility until he causes an accident that costs a coworker his arm. When no one recalls the imposing bald man whom Trevor claims distracted him during the incident he is ostracized by his coworkers and ultimately fired. He tries to find comfort in a sympathetic hooker (Jennifer Jason Leigh) who has fallen in love with him and a kind waitress and single mom (Aitana Sanchez-Gijon) who works at his favorite all-night diner but even they offer little solace as his paranoia mounts. What is real what is memory and what is imagined? Trevor clings to the last shreds of his sanity before he finally faces the truth about the only demon that matters--the one with the tortured face staring back at him in the mirror.
Christian Bale is one of the finest actors of his generation and as evidenced by his total immersion in this role the most committed. After having seen Bale's buff physique on display in movies like American Psycho and Equilibrium he is a fright to behold after losing 63 pounds with concave stomach protruding ribs and hipbones jutting out like handlebars. "I could make a whole other movie on the subject of guilt just from my experience of watching this man reduce himself to 120 pounds " says director Brad Anderson. Bale who claims he simply stopped eating for the role was attracted to the character because Trevor is a man stripped to his bare bones literally and otherwise. "Trevor is consumed with anxiety and lives with this intense fear that something awful is always just about to happen " says Bale. "He fears he's the butt of some great cosmic joke. We all know how powerful a combination sleep deprivation and suppressed emotion can be. It takes him to places that are terrifying and monstrous but also incredibly revealing." In supporting roles Jennifer Jason Leigh revisits the damaged-goods gal she does so expertly and Spanish actress Aitana Sanchez-Gijon provides the only soothing visage in the film's grim landscape.
If you've seen Brad Anderson's creepy Session 9 you know the director has a talent for building a sense of quiet dread. The same can be said of The Machinist where everything from a ticking clock to a hangman game on Post-It notes starts to seem menacing. Inspired by the camera angles of Hitchcock the surrealism of German Expressionist films like Nosferatu as well as film noir Anderson constructs a muted washed-out shadowy world for his ghostly main man to haunt. "I wanted the movie to feel out of time other-worldly from a different era or place " says Anderson. "You never quite get a grip on where or when in time things are happening and that was intentional. It's a modern Kafkaesque world a nightmare dreamscape that draws horror from everyday existence."
October 25, 2002 1:51pm EST
Captain Sean Murphy (Gabriel Byrne) leads a salvage team of five people aboard the tugboat Arctic Warrior with Maureen (Julianna Margulies) as something of a second in command. At a bar one night the crew is approached by a Canadian Air Force pilot (Desmond Harrington) who while monitoring icebergs in the Bering Sea spotted a mysterious vessel. He offers to divulge its location for a cut of whatever it's worth. What the crew finds are the decaying remains of the Antonio Graza an Italian cruise ship thought to be lost at sea for more than 40 years. While scavenging the vessel for valuables the salvage team discovers that something horrendous happened on board four decades ago. To make matters worse the crew starts seeing ghosts including a little girl named Katie (Emily Browning) who warns them to get off the ship before it's too late. Let's just say that the plot involves something about a ghost tricking people into boarding the ship in order to amass a certain amount of souls and complete a mission of sorts. Don't be surprised if you find yourself scratching your head when the ghost's true intentions are revealed--the film leaves many questions unanswered.
Former ER star Margulies (Dinosaur) shares the lead here with Byrne (End of Days) and the most refreshing thing of all is that there is no romance between the two characters. Maureen is a tough and independent woman who has no qualms about living at sea with a bunch of grubby men and Margulies portrays that well. We are told that Maureen and Byrne's character Murphy have a father-daughter-type relationship but that is not explored on screen. While Byrne plays a convincing rugged sea captain his character is never delved into and is dismissed rather abruptly. In fact that is the biggest problem with most of the actors and their characters; they are more like slightly more developed extras brought in to become victims rather than the film's protagonists. Harrington's (We Were Soldiers) character Jack is not as glazed over as the others and the actor conveys the different sides of his personality well enough. The rest of the crew including Ron Eldard as Dodge Isaiah Washington as First Mate Greer Alex Dimitriades as Santos and Karl Urban as Munder do the best they could with the flat and disposable characters they are given.
Ghost Ship opens up with a fantastic scene that involves hundreds of crewmembers and passengers getting dismembered by a high tension wire that slices across the boats main deck. Too bad it's so implausible because unless the wire was lined with razor blades all those bodies wouldn't have been severed so neatly. The massacre is set aboard the Antonio Graza back in 1962 when cruises were still considered a luxury. But when the film zips back to present day it becomes less imaginative and director Steve Beck (Thirteen Ghosts) dips into the old haunted-stories bag o' tricks including ghost reflections in mirrors. But while the gags are a little worn they still scare and are constant enough to keep the film from lagging. The film comes in under 90 minutes which isn't short enough to graze over some of the story's plot holes. The characters for example jump in and out of the icy Bering Sea without the slightest quiver even though their survival time in the 45-degree waters would be measured in minutes. And if Ghost Ship sounds familiar that's because it was made in 1997 and called Event Horizon except that rescue mission was set in the year 2047 aboard a space ship.