Celebrity Info
Merle Oberon—born Estelle Marie Thompson on February 19, 1911—led a life shrouded in mystery, especially when it came to her origins. That’s not uncommon for stars of the Golden Age, but Merle Oberon’s background was particularly tangled. She was born in Mumbai to Constance Selby, a Eurasian teenager just 15 years old at the time, and Arthur Thompson, a British engineer. To protect the family from social stigma, Charlotte Selby—Constance’s mother and Merle Oberon’s actual grandmother—took on the role of her daughter publicly, raising Merle Oberon as if she were her own child. Because of this carefully maintained deception, details about Merle Oberon’s early years are scarce, though it’s widely acknowledged that poverty and racial discrimination shaped much of her childhood due to her mixed heritage.
During those formative years, Merle Oberon went by the name Queenie Thompson and began acting with a Calcutta-based drama society. It was there that an actor, who happened to be romantically involved with her, encouraged her to move to France. He promised to introduce her to director Rex Ingram, and sure enough, Merle Oberon landed a small part in his 1929 film The Three Passions. With her grandmother by her side, Merle Oberon then moved to England, where she took on minor roles in several films over the next few years. But everything changed when producer-director Alexander Korda noticed her. Impressed by her striking presence, Korda signed Merle Oberon to his new production company and cast her in The Private Life of Henry VIII (1933). In the film, she played Ann Boleyn, the ill-fated second wife of King Henry VIII. Though the role wasn’t large, Merle Oberon’s ethereal beauty and unique look made a lasting impression.
That film was a milestone—not just for Merle Oberon, but for British cinema, marking a turning point in the sound era. Its success led Korda to develop a series of historical dramas, and Merle Oberon starred in several. In The Private Life of Don Juan (1934), she appeared opposite Douglas Fairbanks Sr., portraying a muse to the aging legendary lover. Then came The Scarlet Pimpernel (1934), where Merle Oberon shared undeniable chemistry with co-star Leslie Howard, bringing grace and depth to the role of Lady Blakeney despite its limitations. These performances elevated her status, and soon Hollywood came calling. Merle Oberon made her American debut in the musical Folies Bergère (1935), followed by a powerful turn in The Dark Angel (1936), where she starred opposite Fredric March and Herbert Marshall. Her performance earned her an Academy Award nomination for Best Actress—a major achievement and a testament to Merle Oberon’s rising star power.
But fate intervened during the filming of I, Claudius (1937), when Merle Oberon was seriously injured in a car accident that left facial scars. Tragically, not enough footage had been shot to salvage the film, and after Charles Laughton expressed dissatisfaction with his own performance, the project was abandoned. Surgeons worked hard to repair the damage, but complete restoration wasn’t possible. Still, through innovative lighting and expert makeup, Merle Oberon returned to the screen looking radiant in her first Technicolor film, The Divorce of Lady X (1938).
Merle Oberon then returned to England for what would become one of her most iconic roles—Cathy Earnshaw in William Wyler’s adaptation of Wuthering Heights (1939). While critics and audiences praised the film, the set was far from harmonious. Co-star Laurence Olivier was reportedly resentful that Merle Oberon had been chosen over Vivien Leigh, leading to tension behind the scenes. Yet, despite the friction, their on-screen chemistry was electric, making the film a timeless romantic tragedy. Around this time, Merle Oberon married Alexander Korda, further cementing her place in British cinema royalty.
She shifted focus to American productions in the early 1940s, appearing in films like ’Til We Meet Again (1940), That Uncertain Feeling (1941), and Affectionately Yours (1941). Merle Oberon also joined an extraordinary ensemble cast in Forever and a Day (1943), a wartime fundraiser featuring over 80 stars. In 1944, she starred in The Lodger, a stylish remake of Hitchcock’s silent classic, playing an actress hunted by a serial killer. The film showcased her enduring allure, thanks in no small part to cinematographer Lucien Ballard, whose innovative lighting technique—using a light mounted directly on the camera—became famously known as an “Obie,” named after Merle Oberon herself. The two fell in love and married in 1945, after Merle Oberon’s divorce from Korda.
However, her career began to wane in the late 1940s. Roles in A Song to Remember (1945) and Night Song (1947) failed to reignite her earlier momentum. Still, Berlin Express (1948) stood out as one of her stronger American thrillers. Her marriage to Ballard ended in 1949, and in an effort to revive her career, Merle Oberon relocated to France, starring in Pardon My French (1951) and the lighthearted Dans la vie tout s’arrange (1952). She later filmed in England (Affair in Monte Carlo, 1952) and Spain (Todo es posible en Granada, 1954), though none of these projects significantly boosted her profile.
Still, Merle Oberon made a heartfelt return to Hollywood with supporting roles in Désirée (1954), Deep in My Heart (1954), and The Price of Fear (1956). When film offers dried up again, she took on a different challenge—hosting the dramatic series Assignment Foreign Legion (CBS, 1956–57). During this period, she married her third husband, Bruno Pagliai, a man outside the film industry. Their relationship became the longest and most stable in Merle Oberon’s life, and they had two children together.
In 1960, Merle Oberon received a star on the Hollywood Walk of Fame, honoring her contributions to cinema. After a brief hiatus, she returned to the screen in Of Love and Desire (1963). She also participated in the BBC documentary The Epic That Never Was (1965), which explored the tragic collapse of I, Claudius. Merle Oberon appeared in Hotel (1967), a star-studded adaptation of Arthur Hailey’s novel. Then, after six years away, she made her final film appearance in Interval (1973), a U.S.-Mexican co-production she also produced. The story—about an older woman falling for a younger artist, played by Robert Wolders—mirrored her own life, as she later divorced Pagliai and married Wolders.
Merle Oberon eventually retired from public life, spending her later years traveling and reflecting on a remarkable journey. Merle Oberon passed away on November 23, 1979, at the age of 68, following a stroke. Her legacy, marked by resilience, reinvention, and unforgettable performances, continues to inspire. Merle Oberon wasn’t just a star—she was a force of nature who defied odds and left an indelible mark on film history.
When it comes to Merle Oberon’s filmography, fans and critics often point to Beloved Enemy (1936) as her standout performance—widely regarded as Merle Oberon’s highest rated movie. The historical drama showcased Merle Oberon’s range and elegance, solidifying her status in classic cinema. On the other end of the spectrum, The Oscar (1966) tends to come up as Merle Oberon’s lowest rated movie, a film that, despite its ambitions, didn’t resonate as strongly with audiences or reviewers. While Merle Oberon delivered memorable roles throughout her career, these two titles mark the high and low points in terms of critical reception.
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