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BY MAGGIE SCOTT

In the novella “The Painted Veil,” which has newly reached the screen in its third film adaptation, one of writer W. Somerset Maugham’s characters informs Kitty Fane that “one cannot find peace in work or in pleasure, in the world or in a convent, but only in one’s soul.”

This comes as a shock to the frivolous young woman (Naomi Watts) who has never before her hasty marriage of convenience to bacteriologist Walter Fane (Edward Norton) bothered her pretty, pleasure-oriented head about matters of soul or for that matter of work, conscience or character.

Kitty’s painted veil obscuring her shallow, selfish mind from most of life’s realities began to tear when guilt gained a foot hold upon the discovery of her delusional affair a few months into the couple’s stationing in Shanghai, China.

It’s 1925, and England is facing hefty challenges to its imperialist presence in the ancient country. Men like Charlie Townsend (Liev Schreiber), a vice consul, know the time is coming to get out while the getting’s good; but in the meantime are taking advantage of opportunities carnal and material alike.

One of those opportunities was the impressionable Kitty; and when Walter informs her that he knows about her indiscretion, she’s sure her lover will do right by her. She can feel nothing for the pain she’s caused her husband, who has loved Kitty in spite of her shortcomings and obvious lack of caring for him.

Walter knew she took her vows simply to escape uncaring parents, but is not about to let her escape the consequences of not honoring those vows. He informs her that she can either face a divorce action naming Charlie or join Walter in Mei-tan-Fu, a small town overrun by cholera and threatened by nationalist rebels.

Knowing the sort of man Charlie is, Walter has had the maid pack Kitty’s trunks. Knowing the sort of man Walter is cannot be fathomed by Kitty until she realizes that Walter is motivated to take on this suicidal mission by more than altruism, more than medical curiosity, more than revenge. He is punishing himself for allowing himself to love Kitty.

The Fanes’ strained relationship is recognized by Mei-tan-Fu’s deputy commissioner (Toby Jones), but not by a mother superior (Diana Rigg) struggling with rapidly diminishing resources to help diseased people and orphaned children. As the humble nun praises the selfless work of Walter, Kitty realizes she wants to have the chance to show, like Walter is doing, that her life has meaning in the service of others.

Atonement is possible as Kitty’s painted veil lifts and she can recognize the worth of her husband and acknowledge her flawed character. Maugham’s detailed portrait of Kitty’s transformation is given short shrift in Ron Nyswaner’s leisurely script which dodges the difficult task of depicting moral epiphanies in ways more subtle than unpremeditated, redemptive, erotic clinches.

Norton and Watts flesh out the thin characterizations with a reserved passion and intelligence that isn’t enough to help the drama take flight out of stodginess.

A Warner Independent Picture release, rated PG-13 for sexual situations, partial nudity, disturbing images, drug content.
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