Temptation

We are in Egypt and Merle Oberon (Ruby) is approached by friend and Chief of Police Arnold Moss (Ahmed). He is visiting her as both a friend and in an official capacity. He asks that she attends his station the following day allowing her a final night to come clean with her husband Egyptologist George Brent (Nigel). She asks for a moment with her husband's friend Paul Lukas (Meyer) and so begins the flashback story of her life over the recent 3 years or so, especially her relationship with Charles Korvin (Baroudi).

The cast are good in this film and Oberon is a strong lead character. The dialogue is entertaining and the story keeps the audience engaged. George Brent doesn't have much to do and is pretty much a wet fish throughout the proceedings. The ending is somewhat predictable, forced and rushed but it does allow you to ignore the narrative as presented and come up with your own conspiracy theory. Is that what really happened?

Would you marry a boring man? A work colleague of mine did just that and whilst they are now divorced and she hates him, she found that the grass hasn't been greener and she has been hurt by her cheating next encounter. Sometimes boring can be jolly nice indeed. Actually, boring is one of the worst things - ignore that last thing. My work colleague is a bit weird.

Merle Oberon gives an outstanding fin di ciecle fashion show as she venomously snakes her way around men to achieve her aims in Temptation. Maintaining cool and calm amid the heat of Cairo, she attempts to dissemble the men around her with both beauty and cunning.

Recently divorced Ruby (Oberon) sets her plan into action on her next victim and eventual husband, famed Egyptologist, Nigel Armine (George Brent). She is soon bored with the leisure existence and makes the acquaintance of Mahoud, a con man (Charles Korvin) that she soon falls deeply for. When he wants to call it quits, she reluctantly agrees to an outlandish request so they can be together.

Coquette, Ruby, is a manipulative and narcissistic work of art as she glides between vast wealth and on the brink of destitute. Confidently parading about in highly stylish frocks with the confidence of a princess.

Irving Pichel's direction is less than inspired, scenes flat in spots while Brent, Korvin, and Paul Lukas lend solid support while clearing the runway for the sartorial resplendent Ms. Oberon.

The old theatrical war horse 'Bella Donna', first performed on stage by Alla Nazimova is here re-titled 'Temptation' with Merle Oberon following in the footsteps of Pola Negri and Mary Ellis on film. Classy Miss Oberon with her air of mystery and subdued sensuality is ideally cast as Ruby, is further enhanced by the fabulous costumes of master designer Orry-Kelly and is of course flattered by the 'Obie' light created by her then husband, cinematographer Lucien Ballard. In the thankless part of her good-natured, cuckolded husband, George Brent does the best he can whilst Charles Korvin as the beastly Baroudi and Miss Oberon have a powerful chemistry. As the voice of Ruby's conscience the immaculate Paul Lukas as usual quietly steals all of his scenes. The only weak link is Suzanne Cloutier as Yvonne but happily she has little screen time. She went on of course to play Desdemona, yet another of Orson Welles' bizarre casting choices. There is an intriguing appearance by the brilliant and ill-fated photojournalist Robert Capa who visited his friend Charles Korvin on the set and ended up playing his servant.

Although slowly paced and clearly showing its theatrical roots, this tale of infidelity, blackmail, poisonings and an Egyptian mummy's curse keeps one watching thanks to its leading players and Irving Pichel's capable if somewhat uninspired direction.

I was surfing online and came across this film, that I had never heard of before and figured, what the heck, I'll check it out. And I'm glad I did!

It's set in Cairo in the 1900's, and since anything set in past times (with past outfits) captures my attention, it was off to a good start. It's quite a story, as Ruby (Merle Oberon), a woman with a less than stellar past, determines to marry Egyptologist Nigel (George Brent) and gain some security and respectability. It's a one-sided love match, as her feelings for him don't go much above slight fondness.

Bored with her life in Cairo, being left alone too much, and the society couples they're compelled to entertain, Ruby amuses herself by coming to the aid of a young women who has written indiscreet letters to the charismatic Baroudi (Charles Korvin), she ends up falling for his charms, and soon they're lovers. Among his many flaws, Baroudi is a compulsive gambler, and when Ruby thwarts his attempt to woo a young heiress, she finds herself agreeing to a plot to murder Nigel, leaving the two of them free to start over, with her widow's wealth.

Soon, however, Ruby's conscience gets the better of her, and then everything begins to spiral.

I don't think you'll regret watching this.

After an undefined past, Merle Oberon decides to marry a wealthy man and does in archeologist George Brent. He whisks her away to Egypt, where he is busy archeologizing. Enjoying her newly luxurious life, she falls in love with local prince Charles Korvin. They hatch a plan to poison Brent and enjoy the wealth, when they are not busy enjoying each other.

This A picture from International Picture -- soon to merge with Universal -- shows the peculiarities of the Production Code. It's ok to poison your husband (so long as eventually you suffer some sort of penalty, usually divinely imposed) but not to show how you became a Bad Woman; I suppose that would be seen as some sort of justification. Also, you can let the audience infer an extra-marital affair, so long as you don't do anything to show it. Either that, or producer Edward Small decided to horsetrade that away for some indiscretion elsewhere. It has been reported that the Majors would emasculate one movie in return for something spicy in another. International, with a total production of ten movies before its merger probably didn't have much to offer in its string.

Miss Oberon is quite lovely and dresses very well, although director Irving Pichel thinks that the way to show an actress is being evil is to make her glare and shoot from below. With Paul Lukas, Arnold Moss, and Ludwig Stossel.