First, the title itself is rather generic and in a way, problematic. (The book upon which the story is based, is called Bella Donna, which sounds a bit more exotic.) The problem with a word like "temptation" is that it's fine insomuch as the main character remains tempted. But the woman Merle Oberon is portraying is so impulsive, that she's tempted for about two minutes before she acts on her impulses and gives in to her desires.
If you've gone beyond temptation, which she has (and how!), then what do you have? More temptation? Not really. This word would work if the story was about her leading others into temptation, but that is not exactly what occurs.
The story is very slow-moving in spots. One contemporary critic felt the 98-minute running time was not justified. It's a drama that with more economical editing could have been told in 75-80 minutes. Some scenes are simply too long to sustain viewer interest. That's most likely because producer Edward Small and director Irving Pichel wanted the characters to take leisurely strolls and repeatedly wring their hands so that we could linger on the lavish architectural design and take in all the exquisite period clothing.
Also, I suspect they wanted us to have plenty of time to dwell on Miss Oberon's latest hat. She must set a record for the amount of showy headpieces she wears. Though I supposed it adds a bit of outrageous fun that she's always so overdressed. She seems to be the type that would get decked to the nines just to walk down the hall to the bathroom.
While this is certainly Miss Oberon's movie, a few of the supporting cast manage to make an impression. Paul Lukas is on hand as a well-meaning doctor. He suspects Oberon of having ulterior motives, when she swoops in on his pal George Brent-- a very single and very rich Egyptologist. Lukas is looking out for Brent and wants to prevent his friend from marrying Oberon, which will undoubtedly be the biggest mistake of all time. As a result, the tension between Oberon and Lukas underscores the conflicts that play out on screen which gives the plot some dimension and substance.
Meanwhile, Charles Korvin appears in a very memorable role as a sinister yet sexy blackmailer. He skillfully ensnares Oberon, which isn't hard to do. Especially since she has become quite unhappy after marrying Brent...they start a passionate affair while her husband is off searching tombs for mummies and buried treasures. Of course, Korvin is using Oberon, but Oberon seems to want it this way.
Eventually she is goaded by Korvin into killing Brent, so that they can be together and enjoy all the money she will inherit. Korvin gives her some poison (probably arsenic) which she will dole out to Brent in small but steady doses to weaken him.
However, for some inexplicable reason, Oberon realizes she may be a lot of things, but a black widow is not one of them. She decides she can't murder Brent and tells Korvin. He reminds her that her husband has become quite ill from the poison she's been administering and that she has plenty of reason to want her husband dead. She can't back out now, even if she wants to.
But Oberon disagrees. In her frustration, she uses the rest of the poison to get rid of Korvin while Brent makes a full recovery. That horrible man, with a cleft on his chin to rival Cary Grant's, is now history.
While the more delirious aspects of the film involve Oberon and Korvin, I want to mention how much George Brent's noble characterization registers. He provides a dapper performance that is not too deep, not too superficial-- successfully conveying the part of a good and respectable spouse. Mr. Brent is always serviceable in these types of melodramas with strong females. Before working with Miss Oberon, he had plenty of practice at home studio Warner Brothers opposite Bette Davis.
Speaking of Bette Davis, TEMPTATION reminds me a lot of THE LETTER. Mainly because we have a woman in a foreign land who takes a lover then resorts to murder in order to be free. Ultimately, she realizes what a decent husband she has and how wrong she was to stray.
I like how Brent's reasons for marrying Oberon are obscured until the end, when we find out how much he really thinks of her. As for the character played by Oberon, she turns confessor after doing away with Korvin. So she is entitled to some form of redemption, though the production code still necessitates her death.
This is a Victorian melodrama with noir touches. It's a mostly satisfying effort at motion picture entertainment, though it is definitely not the classic it could have been and should have been. I am inclined to say more, but I will wisely refrain from the temptation to do so.
If you've gone beyond temptation, which she has (and how!), then what do you have? More temptation? Not really. This word would work if the story was about her leading others into temptation, but that is not exactly what occurs.
The story is very slow-moving in spots. One contemporary critic felt the 98-minute running time was not justified. It's a drama that with more economical editing could have been told in 75-80 minutes. Some scenes are simply too long to sustain viewer interest. That's most likely because producer Edward Small and director Irving Pichel wanted the characters to take leisurely strolls and repeatedly wring their hands so that we could linger on the lavish architectural design and take in all the exquisite period clothing.
Also, I suspect they wanted us to have plenty of time to dwell on Miss Oberon's latest hat. She must set a record for the amount of showy headpieces she wears. Though I supposed it adds a bit of outrageous fun that she's always so overdressed. She seems to be the type that would get decked to the nines just to walk down the hall to the bathroom.
While this is certainly Miss Oberon's movie, a few of the supporting cast manage to make an impression. Paul Lukas is on hand as a well-meaning doctor. He suspects Oberon of having ulterior motives, when she swoops in on his pal George Brent-- a very single and very rich Egyptologist. Lukas is looking out for Brent and wants to prevent his friend from marrying Oberon, which will undoubtedly be the biggest mistake of all time. As a result, the tension between Oberon and Lukas underscores the conflicts that play out on screen which gives the plot some dimension and substance.
Meanwhile, Charles Korvin appears in a very memorable role as a sinister yet sexy blackmailer. He skillfully ensnares Oberon, which isn't hard to do. Especially since she has become quite unhappy after marrying Brent...they start a passionate affair while her husband is off searching tombs for mummies and buried treasures. Of course, Korvin is using Oberon, but Oberon seems to want it this way.
Eventually she is goaded by Korvin into killing Brent, so that they can be together and enjoy all the money she will inherit. Korvin gives her some poison (probably arsenic) which she will dole out to Brent in small but steady doses to weaken him.
However, for some inexplicable reason, Oberon realizes she may be a lot of things, but a black widow is not one of them. She decides she can't murder Brent and tells Korvin. He reminds her that her husband has become quite ill from the poison she's been administering and that she has plenty of reason to want her husband dead. She can't back out now, even if she wants to.
But Oberon disagrees. In her frustration, she uses the rest of the poison to get rid of Korvin while Brent makes a full recovery. That horrible man, with a cleft on his chin to rival Cary Grant's, is now history.
While the more delirious aspects of the film involve Oberon and Korvin, I want to mention how much George Brent's noble characterization registers. He provides a dapper performance that is not too deep, not too superficial-- successfully conveying the part of a good and respectable spouse. Mr. Brent is always serviceable in these types of melodramas with strong females. Before working with Miss Oberon, he had plenty of practice at home studio Warner Brothers opposite Bette Davis.
Speaking of Bette Davis, TEMPTATION reminds me a lot of THE LETTER. Mainly because we have a woman in a foreign land who takes a lover then resorts to murder in order to be free. Ultimately, she realizes what a decent husband she has and how wrong she was to stray.
I like how Brent's reasons for marrying Oberon are obscured until the end, when we find out how much he really thinks of her. As for the character played by Oberon, she turns confessor after doing away with Korvin. So she is entitled to some form of redemption, though the production code still necessitates her death.
This is a Victorian melodrama with noir touches. It's a mostly satisfying effort at motion picture entertainment, though it is definitely not the classic it could have been and should have been. I am inclined to say more, but I will wisely refrain from the temptation to do so.