Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Thursday, February 23, 2017


Mezza mezza adaptation of Somerset Maugham’s THE PAINTED VEIL (second of three*) has almost no atmosphere, missing the cloistered Hollywood glamour (and cop-out ending) Greta Garbo & Herbert Marshall drifted thru in 1934; or the doom-laden tropical mildew Naomi Watts & Edward Norton sweated out in 2006. Made back when studios proudly sent their CinemaScope cameras out to capture exotic locales, this b&w production has flavorless mock up sets and obvious stand-ins for leads Eleanor Parker, Bill Travers & George Sanders on its handful of location shots. The story holds: bored, unfaithful wife, blackmailed by the doctor/ husband she never loved into accompanying him on a cholera epidemic mission outside of Hong Kong, reevaluates her choices on love, life & family . . . too late. Ronald Neame helms efficiently (with Vincente Minnelli called in for the slightly more fluid convent scenes), while Parker pulls off repentant tropes (she's not bad, a sort of refined Joan Crawford) and Sanders surprises with an unusually brisk & energetic characterization of a happy expat with local sympathies. But Karl Tunberg’s screenplay is turgidly stage-bound (we keep hearing about dramatic incidents) with everything played right on the nose, losing the oblique Maugham manner. You’ll forget you watched it the next day.

ATTENTION MUST BE PAID: Listen up at a bridge party to hear Miklos Rozsa reuse the great neurotic waltz he composed for MADAME BOVARY/’49.

READ ALL ABOUT IT/WATCH THIS, NOT THAT: *As noted above, the other versions of this story from 1934 & 2006, though not without their own faults, get more than the superb novella’s title right.

No comments: