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The Painted Veil (2006) Part 1
The Painted Veil (Novel)
The Painted Veil
aDRIAN: Costumes
The Painted Veil Part 2


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The Painted Veil (2006) Part 1

The Painted Veil (2006) Blog Entry
Stars: Naomi Watts, Edward Norton, Live Schreiber
Director: JohnCurran.
Screenplay: Ron Nyswaner
This adaptation of Somerset Maugham’s novel is much closer to the original than the Greta Garbo vehicle (1934).  The Garbo version inserts a whitewashed family life for Kitty in London before she marries, and a romanticized reconciliation of Kitty and her husband Walter at the end.  In between, Garbo’s affair with Charlie (George Brent) is used, but much of the wonderful, painful, insightful, dialogue between Kitty and Charlie and Kitty and her husband is left out.

The Painted Veil (Novel)

The Painted Veil
W. Somerset Maugham, published in 1925. First published in serialized form in Cosmopolitan (1924). 
The title of Maugham’s novel is taken from Percy Bysshe Shelley's sonnet, which begins "Lift not the painted veil which those who live / Call Life.”
Maugham originally wrote the story about a character whose name was Lane, but after the success of a case for libel against the publishers by a Hong Kong couple, he changed it to Fane.  After the then Assistant Colonial Secretary in Hong Kong also threatened legal action, the name of the colony was changed to Tching-Yen.

The Painted Veil

You can listen to "The Painted Veil" on Audible.

aDRIAN: Costumes

The Painted Veil Part 2

Part 2
Greta Garbo, Herbert Marshall, George Brent
Other versions:
•       1957 with Eleanor Parker (the Seventh Sin).
•       2006 with Naomi Watts.
Directed by Richard Boleslawski
Screenplay: John Meehan, Salka Viertel and Edith Fitzgerald
Based on the novel by Somerset Maugham (1925)
Film Editor: Hugh Wynn
Costumes by Adrian.
During the early 20s, Garbo made an extraordinary amount money for the studio.

Dial M for Murder: Novel/Movie Series

Dial M for Murder
Article: Deconstruction of a Scene
This article is about one scene in the film “Dial M for Murder” that between Tony Wendice (Ray Miland) and Swan (Anthony Dawson). 
After introductions at the door, Swan and Wendice sit down for a conversation.  During this initial segment, the camera goes back and forth between the two men, 20 times in a couple of minutes.

Dial M for Murder: Hitchcock: Deconstruction of a Scene

This article is a fascinating deconstruction of one scene in Hitchcock's "Dial M for Murder." The scene is the one where Milland talks to Swan, the man he is recruiting to murder his wife. This scene lasts over 20 minutes, a substantial part of the film. The article takes apart the interesting camera work and the positioning of the actors and the camera. It's well worth a read.

The Dark Past (1948)

William Holden in "The Golden Boy."

The Dark Past (1948)
William Holden (1918-1981), Lee J. Cobb (1911-1976)
According to TCM, Lee J. Cobb was not happy making this film.  His daily crabbiness and dissatisfaction evidently so affected William Holden (who was trying to put back together a film career after his service in WWII) Nina Foch (the female lead) started having Holden come to her trailer for breakfast.  She supposedly consoled Holden and convinced him that in a few years, he would be more famous than Cobb.

Alma Reville, Hitchcock's Brain

Alma Reville (1988-1982)
It’s Alma’s birthday today. 
Alva Reville was an English screenwriter and film editor and a large part of Alfred Hitchcock’s brain.  Charlie Champlin wrote in 1982: "The Hitchcock touch had four hands, and two were Alma's." 
Alma actually started in the film industry before Hitchcock and probably would have surpassed him had she been a man.
Hitchcock, however, was smart enough to recruit her as a film editor on the first film where he had any say.

Chopin: Nocturne 20

Nocturne No. 20 in C-sharp Minor (Little Neal Dancing in my Heart).

This solo piano piece was composed by Chopin in 1930 and dedicated to his older sister.  It was not pubished until 1870, 21 years after the composer’s death. 
The piece was played by Holocaust survivor Natalia Karp for the Nazi concentration camp commandant Amon Goeth while she was imprisoned in Plaszow concentration camp in Poland.  Karp was ordered to play and she chose this piece because it was “sad.
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