Drama / Film-Noir / Thriller

IMDb Rating 6.2 10 123

film noir

Plot summary

Uploaded by: FREEMAN
August 16, 2022 at 04:56 AM


Top cast

George Brent as Nigel Armine
Merle Oberon as Ruby
Paul Lukas as Sir Meyer Isaacson
905.18 MB
English 2.0
24 fps
1 hr 38 min
P/S ...

Movie Reviews

Reviewed by AAdaSC 7 / 10

Life in Egypt

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.

Reviewed by mark.waltz 4 / 10

Deliciously sinister melodrama doomed by tiresome pacing.

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.

Reviewed by JohnHowardReid 9 / 10

A real treat!

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.

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