| Gary Cooper | ... | Peter Ibbetson | |
| Ann Harding | ... | Mary, Duchess of Towers | |
| John Halliday | ... | The Duke of Towers | |
| Ida Lupino | ... | Agnes | |
| Douglass Dumbrille | ... | Col. Forsythe | |
| Virginia Weidler | ... | Mimsey (Mary, age 6) | |
| Dickie Moore | ... | Gogo (Peter, age 8) | |
| Doris Lloyd | ... | Mrs. Dorian | |
| Gilbert Emery | ... | Wilkins | |
| Donald Meek | ... | Mr. Slade | |
| Christian Rub | ... | Major Duquesnois | |
| Elsa Buchanan | ... | Madame Pasquier | |
| rest of cast listed alphabetically: | |||
| Bodil Rosing | ... | Undetermined Supporting Role (scenes deleted) | |
| Jack Adair | ... | Guard (uncredited) | |
| Robert Adair | ... | Prisoner (uncredited) | |
| Stanley Andrews | ... | Judge (uncredited) | |
| Ambrose Barker | ... | Clerk (uncredited) | |
| Theresa Maxwell Conover | ... | Sister of Mercy (uncredited) | |
| Marcelle Corday | ... | Maid (uncredited) | |
| Harry Cording | ... | Guard (uncredited) | |
| Blanche Craig | ... | The Countess (uncredited) | |
| Adrienne D'Ambricourt | ... | Nun (uncredited) | |
| Herbert Evans | ... | (uncredited) | |
| Ferdinand Gottschalk | ... | (uncredited) | |
| Leonid Kinskey | ... | Prisoner (uncredited) | |
| Cyril McLaglen | ... | Captain of Guards (uncredited) | |
| Thomas Monk | ... | Clerk (uncredited) | |
| Clive Morgan | ... | Clerk (uncredited) | |
| Marguerite Namara | ... | Madame Ginghi (uncredited) | |
| Elsa Prescott | ... | Katherine (uncredited) | |
| Gerald Rogers | ... | Warden (uncredited) | |
| Colin Tapley | ... | Clerk (uncredited) | |
Directed by | |||
| Henry Hathaway | |||
Writing credits | ||
| George L. Du Maurier | (novel) (as George du Maurier) | |
| John Nathaniel Raphael | (play) | |
| Constance Collier | adaptation | |
| Vincent Lawrence | writer | |
| Edwin Justus Mayer | additional scenes | |
| John Meehan | additional scenes | |
| Waldemar Young | adaptation | |
| Fred Zinnemann | contributor to special sequences | |
Produced by | |||
| Louis D. Lighton | .... | producer | |
| Henry Herzbrun | .... | executive producer (uncredited) | |
Original Music by | |||
| Ernst Toch | |||
| Hugo Friedhofer | (uncredited) | ||
| W. Franke Harling | (uncredited) | ||
| Heinz Roemheld | (uncredited) | ||
Cinematography by | |||
| Charles Lang | |||
Film Editing by | |||
| Stuart Heisler | |||
Art Direction by | |||
| Hans Dreier | |||
| Robert Usher | |||
Second Unit Director or Assistant Director | |||
| Ray Lissner | .... | second unit director (uncredited) | |
Sound Department | |||
| Frank Goodwin | .... | sound recordist | |
| Don Johnson | .... | sound recordist | |
| Harry D. Mills | .... | sound recordist (as Harry Mills) | |
Special Effects by | |||
| Gordon Jennings | .... | special photographic effects | |
Music Department | |||
| Ernst Toch | .... | musical director | |
| Nat W. Finston | .... | musical director (uncredited) | |
| Bernhard Kaun | .... | orchestrator (uncredited) | |
Other crew | |||
| Adolph Zukor | .... | presenter | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
This 1933 Gary Cooper film is highly regarded and mentioned in many film books. It was a serious film in tone and content, and also in it's techniques. Initially, it seems a rather bland melodrama about two childhood sweethearts who are parted then reunited. The blandness is somewhat heightened by the visual blandness of Ann Harding, the female star. (She is blonde, but very visually monochromatic minimal eyebrows or eye make-up, which makes her seem very very plain, even though she is pretty.) This was the "taste of the times" for a serious "good" woman, and the reason I have this listed as an 8 is that it is definitely dated, and will be much too slow for many viewers.
The story is about dreams and architecture, so keep an eye on the buildings, there are really inventive and beautiful buildings. The stable that is supposed to be "horrible" is like a forest cottage in a fairy tale. The child casting at the beginning is funny by today's standards of continuity. These actually are pretty good child actors for the time not cloying or overly precious - but the boy's coloring is quite dissimilar to the adult. Big brown eyes of the boy becoming the famous baby blues of Cooper. But let these things go, and the early scenes are an effective and emotionally effective set up for the payoff.
The best part of the film comes in the last third. Suddenly, we are in an expressive fantasy completely grounded in the earlier part, but also completely different. Not only are the effects here still magical, reminiscent of Durer etchings, but they are also really overwhelming when we think about how difficult it was to achieve these effects in this time period. (Any thing that fades in or out - this had to be done by re-filming with the same piece of film, etc.) While never named, it is clearly colored by the "astral body" theories of the Eastern religions that were popular in Hollywood at the time, having a strong influence on art, architecture, and design during this period.
Ultimately this is a beautiful and memorable film about the strength of love, dreams, and the triumph of pure heart. This makes for a very quiet but powerful film. (Quiet and powerful became the hallmark of Cooper's screen character.) The strength of this film is its simplicity of message, and the really memorable and soulful performance of Cooper.