Tentazione

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.

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.

Beautiful Merle Oberon in beautiful gowns stars in Temptation from 1946, also starring George Brent and Paul Lucas.

Set in the early 1900s, Oberon stars as Ruby, the wife of an Egyptologist Nigel (Brent) who, in flashback, explains to a doctor (Lucas) why she is encouraging her husband to leave Egypt for a position in London.

The doctor, a good friend of Ruby's current husband, knows her all too well. She has a shady past and an ex-husband. There was some scandal, so much so that back in London, he encouraged her to leave the city and remarry.

At that point, she already had her eye on Egyptologist Brent, and using her charms, marries him and moves to Egypt. She is not in love with him and bored out of her mind.

While he's on a dig, she meets and falls for Mahoud Barudi (Charles Korvin) and becomes obsessed with him. When he becomes desperate for money, he encourages her to do something that will make them both rich so that they can be together.

Good movie with a top cast in a familiar story, directed by Irving Pichel. There is a slight twist, though most of the film is predictable. Recommended for classic film lovers.

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.