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.
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.