Temptation

Temptation

Temptation

Sometimes one can endure the barest of plots in a Warner Brothers Kay Francis melodrama merely to enjoy the parade of Orry-Kelly creations that Kay wore so perfectly. So it is in this dark melodrama, as semi-glacial Merle Oberon parades across lush sets in an amazing assemblage of distinctive, detailed costumes that put to shame the average melodrama. Oberon marries Egyptologist Brent not for adventure or to help him dig up a legendary mummy, but to be able to have riches for life, to be able to mingle with the well-do-to without apology and it isn't long before she falls afoul of someone not unlike her, an alluring lothario with looks and cunning; as their lusts cool, it doesn't take long for them to start plotting nasty deeds. But it isn't really the plot that moves this fascinating story along--it's a sense of lush studio style at it's richest, peopled with largely unfamiliar but compelling character actors that provide the sense of a larger world outside. Strong soundtrack, impressive set decor and above all, one magnificent fashion creation after another provide fascination for the viewer who can deal with the melodrama.

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.

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.

For those of us who love superlative black-and-white photography, shimmeringly artistic sets and gorgeously adorned costumes, Temptation is a real treat. The story of this Bella Donna is in itself sufficiently strong to sustain interest, but its suspense is further heightened here not only by an additional dressing of pungent dialogue, but by inspired acting from the entire roster of players from principals down to the smallest bits. It's not every actor who'd be willing to undertake the thankless role of a husband so deadly dull as to drive his wife into a blackmailer's arms. But George Brent makes his Nigel so stodgily lacklustre as to make any woman scream. Miss Oberon plays the adventuress with a heart of stone. Her composure is admirable. Charles Korvin gives his villain a requisite edge of charm. As his victim, Suzanne Cloutier (later to play Desdemona to Welles' Othello) makes quite an impression. Good to see Aubrey Mather in a role that suits his considerable talents. Arnold Moss as usual contrives to make his very presence inauspicious. Pichel has directed in a measured, yet unusually fluid style that illuminates not only the more subtle nuances of the dialogue, but the extraordinary beauty of sets and costumes. The conclusion is somewhat abrupt, but that is the only strike against this engrossing, strikingly picturesque, period piece.

"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.

The always alluring Merle Oberon is defeated in this painfully slow melodrama (of the Margaret Lockwood variety) by an overly pretentious attempt to make a work of art out of a tedious script. She's a calculating divorcee, manipulating herself into the life of wealthy archaeologist George Brent and quickly becoming involved in a passionate affair with the handsome Charles Victor. A dramatic cord of music strikes quickly every time Oberon puts into action a sinister scheme and each time she is confronted or informed of what her schemes have achieved. The flashback scenario is structured in an agonizingly slow manner, and the music often overpowers the dialog. Brent and Paul Lukas (as a doctor), but Lenore Ulric is very good as Brent's faithful housekeeper who briefly becomes a close companion to Oberon until she catches on. This variation of "Bella Donna" is a missed opportunity, often trying to capture the essence of the European new wave, but succeeding only for the technical aspects of the film. As a huge fan of Oberon, I found myself completely uninterested in the proceedings, even though I've loved the British melodramas that Margaret Lockwood starred in. American variations of that theme have mainly failed (see "The Strange Woman" with Hedy Lamarr), although Joan Fontaine in "Ivy" was much better.

I was a little bit put off watching this movie, because I read a few reviews that didn't give it justice however, I'm glad I decided to go over it with my own eyes because it turned out to be a good quality story of lust and greed and murder. Ms Oberon played the part of the wife and femme fatale to perfection. After visiting the Harley street doctor who encouraged her first husband to divorce her due to her infidelities she finds another unsuspecting wealthy man. (She first learns about his passion) Her interest in him & beauty captures his weak & gullible heart into marrying her which from then shows us what she's all about. The ending was also surprising.