Temptation (1946) User Reviews

Shady lady.

[brogmiller · 7/10 · 16 September 2022]

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.

Kay Francis Has Some Competition!

[museumofdave · 8/10 · 15 September 2022]

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.

An Entertaining Discovery

[ldeangelis-75708 · 7/10 · 6 December 2022]

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.

Looking for excitement

[jimjamjonny39 · 7/10 · 25 September 2022]

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.

Life in Egypt

[AAdaSC · 7/10 · 27 January 2018]

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.

Melodrama with noir touches

[jarrodmcdonald-1 · 16 September 2022]

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.

Merle Oberon Is A Baaaad Woman

[boblipton · 6/10 · 3 October 2023]

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.

A real treat!

[JohnHowardReid · 9/10 · 4 April 2018]

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.

Deliciously sinister melodrama doomed by tiresome pacing.

[mark.waltz · 4/10 · 5 September 2019]

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.

A woman too beautiful, too ideal and too good to be true

[clanciai · 10/10 · 10 September 2022]

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.

Very similar to "The Letter"...and just about as enjoyable.

[planktonrules · 8/10 · 4 November 2022]

"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.