Tentation

For some reason, Merle Oberon is always sensational on the screen, always outshining anyone in beauty, wit and splendour, and remarkably consistent in her dazzling beauty through the decades - she actually seemed never to age. In this film particular attention should be paid to her dresses, in the beginning her husband says that she is the most striking beauty of Egypt since Cleopatra, and you almost have to admit he is right. George Brent plays her husband, a hopeless bore of an archaeologist only interested in mummies, and in exotic Egypt she naturally must get bored and happen to the first best lover, who happens to be a scoundrel having deceived many women and lost all fortunes, so he chases women just for their money. She falls for him, and he persuades her to poison her husband to enable them to continue as partners with all her inherited money, and so the case goes from bad to worse. The film begins by a visit from a police officer, who imparts his suspicion of her, she has to visit his office the next day to answer some questions, so she turns to her husband's old friend and doctor, Paul Lukas, to confide in him and confess the full story. He as a doctor is in no position to judge anyone, so he just has to reluctantly listen to her. Most of the film is then flashbacks.

But it is an amazingly good and well written story, Merle Oberon sparkles throughout in her magnificent toilettes and with a constantly very intelligent dialog, so this is a real treat for the intellectual cineast. Much of this intrigue reminds you of Mankiewicz' rendering of the Cicero case in "Five Fingers", an authentic story, while this is all theatre but on a very advanced stage. The film is worth watching if even only for Merle Oberon's dresses.

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.

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.

"Temptation" is a film very similar to the great films, "The Letter" (1929, 1940). All of them are about an unfaithful with who murders...and who ultimately must pay for her misdeeds. Instead of the tropical locales used in "The Letter", most of "Temptation" is set in Egypt.

Since the film begins with Ruby (Merle Oberon) being confronted by authorities about her having committed murder, this part of the movie shouldn't come as any surprise. She then recounts the events that led to her deplorable state.

It seems she actively pursued a nice, rich Egyptology professor (George Brent). He loved her, though her doctor was shocked, as she had confided in him that she was setting out to find a rich man...any man. So he certainly wasn't thrilled at the union. After they married, she quickly became bored and dealt with it by an affair with a real piece of work! Where does it all go next and what about the murder? See the film and see for yourself.

The story, though similar to "The Letter" is different enough that it's still a fine film. Well acted, well written and well worth your time.

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.