When I was in the 3rd grade I stayed home from school one day sick with the flu and watched this on a local TV station and some scenes from it have stuck with me ever since; I will never forget the sight of Harry Belafonte eating dinner with Inger Stevens and then cleaning up by casually throwing the entire contents of the dinner table out the high rise apartment window and calculating that it would be YEARS before the pile of smashed crockery reached his window; who can explain the eerie fascination of empty cities? This film is one of the first to successfully pull off the effect, setting the standard for what followed: The Omega Man, The Day of The Triffids, 28 Days later and especially The Quiet Earth.
63 Reviews
What Kind Of Culture Will They Establish?
bkoganbing21 January 2008
Harry Belafonte is a coal miner trapped in a cave-in. He hears the drilling of the rescue crew which abruptly stops. Belafonte claws his own way to the surface and finds everything abandoned. I mean really abandoned. An Armageddon has occurred when some nation decided to forego the bomb and all that destruction and just use the radioactive byproducts. It gets out of control and wipes out everybody.
Well, almost everybody. Harry hot wires a car and travels to New York City in search of life in the largest population center. After a while he finds it in Inger Stevens. It looks like another Adam and Eve ready to begin again when Mel Ferrer also shows up. By that time Belafonte has established some kind of contact with some unknown foreign survivors somewhere in the post apocalypse world?
Of course with two men, two races, and only one woman, things start to look like business as usual for mankind. I was reminded of Neil Patrick Harris's line from Starship Troopers about how we're in it for the species. Will all three of them and anyone else they contact decide we're in it for the species in The World, the Flesh and the Devil?
Director Ranald McDougall got three good performances out of his small cast. The World, The Flesh And The Devil does ask some thought provoking questions as to whether man is capable of screwing up once again. What kind of culture will they establish and will a Supreme Creator/Deity need to intervene?
Well, almost everybody. Harry hot wires a car and travels to New York City in search of life in the largest population center. After a while he finds it in Inger Stevens. It looks like another Adam and Eve ready to begin again when Mel Ferrer also shows up. By that time Belafonte has established some kind of contact with some unknown foreign survivors somewhere in the post apocalypse world?
Of course with two men, two races, and only one woman, things start to look like business as usual for mankind. I was reminded of Neil Patrick Harris's line from Starship Troopers about how we're in it for the species. Will all three of them and anyone else they contact decide we're in it for the species in The World, the Flesh and the Devil?
Director Ranald McDougall got three good performances out of his small cast. The World, The Flesh And The Devil does ask some thought provoking questions as to whether man is capable of screwing up once again. What kind of culture will they establish and will a Supreme Creator/Deity need to intervene?
Engrossing, well-guided end-of-the-world tale that sells its soul to the Devil in the last reel.
gbrumburgh24 February 2001
Warning: Spoilers
A well-mounted, ambitious end-of-the-world epic, "The World, the Flesh and the Devil" thankfully has more going for it than most of the cheapjack sci-fi prevalent in the 50s, but, alas, it fails to live up to its early, exciting premise.
Harry Belafonte portrays miner Ralph Burton who appears to be the only survivor of some above-ground nuclear gas explosion. The first part of the movie focuses entirely on Ralph scouring the desolate streets of a debris-filled, obliterated New York City in search for other human life. These early scenes are quite tense and fascinating as Ralph is forced to come to fateful grips with his total isolation and lifeless surroundings. There are lighter, even amusing moments interspersed with the potentially heavy-handed theme as Ralph quite bizarrely sets up a makeshift household for himself and plays "mind games" in an attempt to break the utter monotony of loneliness and preserve his sanity. In the meantime, to keep productive Ralph tinkers around his big city "shop" with newly-found gadgets and radio hardware in a dire effort to communicate with other possible survivors. A bit mystifying though is why we don't see any remnants of human existence anywhere and why everything else...stores, automobiles...are still standing, even in tact, for the most part. Did all signs of humanity just evaporate? Was this a selective nuclear explosion?
Enter lovely, timorous Inger Stevens as Sarah Crandall (the Flesh in the title?), a second survivor, who has been secretly following Ralph but fearful, until now, to make contact. Intriguing conflicts set in immediately as Sarah is white and Ralph black. Knowing they have only each other in the world, they endeavor to break the delicate barriers of fear that distance them.
So far so good. But then the plot takes a turn for the worst with the arrival of a third survivor (the Devil in the title?), villainous Benson Thacker, played here by Mel Ferrer, and the movie becomes a silly, ludicrous romantic triangle. Interest literally explodes and burns as fast as you can say "nuclear war."
In a disappointing, poorly-scripted climax, the men get involved in a deadly cat-and-mouse game with Belafonte and Ferrer vying for the affections of Stevens, gunning for each other on isolated streets and lurking around buildings "High Noon" style. Here we have three mature people, supposedly the only humans left on earth, and they want to knock each other off in order to get the girl! And the final scene is unintentionally laughable. Why they chose such a cop-out ending will always be a mystery. Granted, this move was shot in 1959 and so the racial issues naturally had to be skimmed over. But since they introduced it in the first place by casting Belafonte and Stevens, why not deal with it? With a little more care and originality, they could have scaled new heights and made a daring, confrontive, ground-breaking classic.
Nevertheless, the good points outweigh the bad. Belafonte is terrific especially in his early scenes and Miss Stevens registers quite strongly during their tense exchanges. Most of all, director Ranald MacDougall captures a barren, decimated-looking New York City to awesome, jaw-dropping effect. His huge, looming, shadowy panoramic shots of a deserted Manhattan is a marvel of creativity and cinematography...an incredible feat that is alone worth the price of admission.
Harry Belafonte portrays miner Ralph Burton who appears to be the only survivor of some above-ground nuclear gas explosion. The first part of the movie focuses entirely on Ralph scouring the desolate streets of a debris-filled, obliterated New York City in search for other human life. These early scenes are quite tense and fascinating as Ralph is forced to come to fateful grips with his total isolation and lifeless surroundings. There are lighter, even amusing moments interspersed with the potentially heavy-handed theme as Ralph quite bizarrely sets up a makeshift household for himself and plays "mind games" in an attempt to break the utter monotony of loneliness and preserve his sanity. In the meantime, to keep productive Ralph tinkers around his big city "shop" with newly-found gadgets and radio hardware in a dire effort to communicate with other possible survivors. A bit mystifying though is why we don't see any remnants of human existence anywhere and why everything else...stores, automobiles...are still standing, even in tact, for the most part. Did all signs of humanity just evaporate? Was this a selective nuclear explosion?
Enter lovely, timorous Inger Stevens as Sarah Crandall (the Flesh in the title?), a second survivor, who has been secretly following Ralph but fearful, until now, to make contact. Intriguing conflicts set in immediately as Sarah is white and Ralph black. Knowing they have only each other in the world, they endeavor to break the delicate barriers of fear that distance them.
So far so good. But then the plot takes a turn for the worst with the arrival of a third survivor (the Devil in the title?), villainous Benson Thacker, played here by Mel Ferrer, and the movie becomes a silly, ludicrous romantic triangle. Interest literally explodes and burns as fast as you can say "nuclear war."
In a disappointing, poorly-scripted climax, the men get involved in a deadly cat-and-mouse game with Belafonte and Ferrer vying for the affections of Stevens, gunning for each other on isolated streets and lurking around buildings "High Noon" style. Here we have three mature people, supposedly the only humans left on earth, and they want to knock each other off in order to get the girl! And the final scene is unintentionally laughable. Why they chose such a cop-out ending will always be a mystery. Granted, this move was shot in 1959 and so the racial issues naturally had to be skimmed over. But since they introduced it in the first place by casting Belafonte and Stevens, why not deal with it? With a little more care and originality, they could have scaled new heights and made a daring, confrontive, ground-breaking classic.
Nevertheless, the good points outweigh the bad. Belafonte is terrific especially in his early scenes and Miss Stevens registers quite strongly during their tense exchanges. Most of all, director Ranald MacDougall captures a barren, decimated-looking New York City to awesome, jaw-dropping effect. His huge, looming, shadowy panoramic shots of a deserted Manhattan is a marvel of creativity and cinematography...an incredible feat that is alone worth the price of admission.
provided serious food for thought at a time the world wasn't hungry.
bobkat113823 July 2001
A very thought provoking movie that was not accepted at the time, but in retrospect, way way ahead of its time. In a racially charged world it put forth the premise that race, in the final analysis, is superficial and meaningless. Once you strip away the layers of conditioning and socialization, you find, at the core, good and evil and the age old struggle as to which will prevail. A simple story, told directly and honestly. On a scale of 1 to 10, its an 11.
end of the world story... good!
ksf-24 March 2020
A 32 year old Harry Belafonte is Ralph Burton, survivor of a nuclear holocaust, where humanity has been wiped out. we watch the inter-racial relations in a post-apocalypse world with one woman and two men left alive. Co-stars Mel Ferrer and Inger Stevens. For a long time, Burton runs around New York, trying to find other survivors. We experience the echoes and loneliness that he feels. So many empty streets, papers blowing around. It's forty minutes in before Ralph and Sarah even meet up. Stevens would die real young at 35, by suicide. Theoretically, after several initial attempts. Ferrer had been married to Audrey Hepburn at one point. Directed by Ranald MacDougall, who had directed and written screenplays for some AMAZING films... mildred pierce, we're no angels, but sadly, MacDougall died quite young at 58, of a heart attack, according to wikipedia. He had been president of the Writers Guild. Story by Matthew Phipps Shiel. Pretty good stuff. Race relations were still a pretty big deal in the 1950s, and in some places, they still are a pretty big deal. In so many areas, we take one step forward and two steps back. Film is good! end of the world story, with some racial lessons thrown in.
Belafonte on Ferrer's possible racial bias: No, the only thing he has against me is that I'm younger than he is. I can understand that.
brujay-127 December 2006
In the '50s the nuclear holocaust was never far from the popular imagination. This picture is one of many fictional efforts to show what might have happened.
By being trapped in a Pennsylvania mine, Belafonte is one of the very few people on earth (as far as we know from the film, only three) to escape annihilation. He manages to get out of the mine on his own (the first of many plot contrivances), goes to New York City and finds it depopulated, except for Inger Stevens, who eventually comes out of hiding. It's mostly a picture about loneliness. As much as we may resent the jostling masses in our midst, what if they were gone?
Actually, it spurs a fantasy, too. Imagine that you had the pickings of all of New York to yourself, and imagine that you were a handyman who could rig up generators and the like, and imagine that you found a comely woman to keep you company. Could be worse.
But we are asked to ignore too much in the picture, the fact that only one person in all of the city survived, the fact that not a single rotting body is shown on the streets, the fact that the shortwave transmissions Belafonte regularly monitors show that the rest of the world is empty, too (except, eventually, for Mel Ferrer, who was sailing during the nuclear blasts)-- all a bit too much. The film tries too hard to be an allegory when it should have been good, logical science fantasy.
Nevertheless, TWTF&TD is well worth a watch.
By being trapped in a Pennsylvania mine, Belafonte is one of the very few people on earth (as far as we know from the film, only three) to escape annihilation. He manages to get out of the mine on his own (the first of many plot contrivances), goes to New York City and finds it depopulated, except for Inger Stevens, who eventually comes out of hiding. It's mostly a picture about loneliness. As much as we may resent the jostling masses in our midst, what if they were gone?
Actually, it spurs a fantasy, too. Imagine that you had the pickings of all of New York to yourself, and imagine that you were a handyman who could rig up generators and the like, and imagine that you found a comely woman to keep you company. Could be worse.
But we are asked to ignore too much in the picture, the fact that only one person in all of the city survived, the fact that not a single rotting body is shown on the streets, the fact that the shortwave transmissions Belafonte regularly monitors show that the rest of the world is empty, too (except, eventually, for Mel Ferrer, who was sailing during the nuclear blasts)-- all a bit too much. The film tries too hard to be an allegory when it should have been good, logical science fantasy.
Nevertheless, TWTF&TD is well worth a watch.
After the Cataclysm
nycritic24 May 2006
Warning: Spoilers
The end of the world as we know it and only three people remain. With an intriguing title, THE WORLD, THE FLESH, AND THE DEVIL is a mostly forgotten film directed by Ranald MacDougall, screenwriter for some of Bette Davis and Joan Crawford's vehicles from the late 1940s. It tries to flesh out a grim apocalyptic story about what would happen if the world and civilization as we know it came to an abrupt end, and all that was left, at least so far, was a smattering of humans, each of them believing that they were the only ones left.
Post-apocalyptic stories have been around for ages -- since the Bible's own last chapter, "Revelations". When it wasn't an alien race deciding to take over our planet for their own purposes of blind conquer in H. G. Wells "War of the Worlds" it was the world turned upside down by the sudden mutation of humankind into vampires, as in Richard Matheson's "I Am Legend." Until the reality of Hiroshima, Nagasaki, and the mega-powers of the world experimenting with nuclear energy harnessed as the means of mass annihilation took force in the 1940s, science-fiction was little more than tales about Moon colonies, Martian cities, space adventures in other worlds and time travel. Robert A. Heinlein, one of the front-runners of social science fiction, was already writing stories around 1940 based on the potential for human extinction through nuclear warfare. His short story "The Year of the Jackpot" which appeared in 1952 and was part of an anthology called "The Menace from Earth" tackled the destruction of the Earth by nuclear warheads and is one of the most gripping stories of mankind's need for survival even when the odds are against it. The last paragraphs, where the man and the woman await their final end as the Sun sets, is haunting.
THE WORLD, THE FLESH, AND THE DEVIL might as well have been a sequel to "The Year of the Jackpot" told by the points of view of the survivors of this horrific nuclear attack that has destroyed the Earth on a global level. The first half hour is an extended silent film where images of a desolate land prevail as the main character, Ralph (played by Harry Belafonte), emerges from the mine where he's been trapped and finds an overpowering, endless sea of a world where time has frozen and no one is to be found. His slow approach to the truth of the matter is gut-wrenching in its vapid horror -- seeing even little things, like an abandoned umbrella or an empty house. It recalls a much later movie about a different, but equally lethal situation in 28 DAYS LATER... as Cillian Murphy walks among the wreck of a deserted London, unaware he's not alone.
But Ralph thinks he is alone. Arriving at New York in a progressive sequence of images is a knot of foreboding, quiet menace. It seems, at times, he must have fallen through a worm-hole and into a mirror image of the city. Enclosed in darkness, it looms at him so menacingly there is the feeling he would be better off doing an about-face and going elsewhere. The camera tracks his progress, making sure we know just how small he is in a sea of skyscrapers with not a single human in them. Once he discovers the truth, Belafonte's face is completely revealing in its anguish that can only express itself through his luminous face, haunted eyes, and single tear rolling down the side of his face. It's here he decides he must make do as the Last Man on Earth, trying not to lose his sanity when apparently, being sane is now as frightening as being alone.
For a moment, then, the story becomes an exercise in a surreal dream. Belafonte will still be alone on camera for another stretch of time and he acts as if he still has people around him -- all the more unsettling. He has dinner with mannequins, he sings to no one in particular, and plays with his own shadow as if he were trying to make that shadow another person -- an extension of himself.
When someone finally does appear, the story takes off into some different territory and loses some of its punch. When we see her, Inger Stevens is appropriately dressed in black and looks like she's just about lost her mind. She could well be in a state of extended mourning. Seeing another human should cause relief, but the movie has other melodramatic intentions, and from here on, it begins to fail.
In most stories about people finding each other after a global catastrophe there's a sense of madness just underneath a facade of happy anxiety. After all, when you think you're the only person left alive and you see someone else, you're wary but equally overjoyed. MacDougall is good in focusing on this aspect -- he at first makes us see Stevens' feet as she follows Belafonte (though their appearance is too quick to make me believe Belafonte did not hear her behind him). It's when they begin interacting and she chooses to dress in suburban white and act as if nothing had happened that I felt the seams of credibility burst. Adding another male character -- Mel Ferrer's -- is good, but bad, because now it creates the basis of a possible conflict. The fact that Stevens and race is the source of conflict is practically unbelievable considering what they've gone through, but race was an issue in 1959. This of course is the problem: old patterns of conflict have to emerge in order to maintain a sense of familiarity, as in Stephen King's "The Stand." It's why these types of movies are good in concept, but fail in execution. THE WORLD, THE FLESH, AND THE DEVIL would have fit as an episode of "The Twilight Zone", but not as a 90 minute feature-length film.
Post-apocalyptic stories have been around for ages -- since the Bible's own last chapter, "Revelations". When it wasn't an alien race deciding to take over our planet for their own purposes of blind conquer in H. G. Wells "War of the Worlds" it was the world turned upside down by the sudden mutation of humankind into vampires, as in Richard Matheson's "I Am Legend." Until the reality of Hiroshima, Nagasaki, and the mega-powers of the world experimenting with nuclear energy harnessed as the means of mass annihilation took force in the 1940s, science-fiction was little more than tales about Moon colonies, Martian cities, space adventures in other worlds and time travel. Robert A. Heinlein, one of the front-runners of social science fiction, was already writing stories around 1940 based on the potential for human extinction through nuclear warfare. His short story "The Year of the Jackpot" which appeared in 1952 and was part of an anthology called "The Menace from Earth" tackled the destruction of the Earth by nuclear warheads and is one of the most gripping stories of mankind's need for survival even when the odds are against it. The last paragraphs, where the man and the woman await their final end as the Sun sets, is haunting.
THE WORLD, THE FLESH, AND THE DEVIL might as well have been a sequel to "The Year of the Jackpot" told by the points of view of the survivors of this horrific nuclear attack that has destroyed the Earth on a global level. The first half hour is an extended silent film where images of a desolate land prevail as the main character, Ralph (played by Harry Belafonte), emerges from the mine where he's been trapped and finds an overpowering, endless sea of a world where time has frozen and no one is to be found. His slow approach to the truth of the matter is gut-wrenching in its vapid horror -- seeing even little things, like an abandoned umbrella or an empty house. It recalls a much later movie about a different, but equally lethal situation in 28 DAYS LATER... as Cillian Murphy walks among the wreck of a deserted London, unaware he's not alone.
But Ralph thinks he is alone. Arriving at New York in a progressive sequence of images is a knot of foreboding, quiet menace. It seems, at times, he must have fallen through a worm-hole and into a mirror image of the city. Enclosed in darkness, it looms at him so menacingly there is the feeling he would be better off doing an about-face and going elsewhere. The camera tracks his progress, making sure we know just how small he is in a sea of skyscrapers with not a single human in them. Once he discovers the truth, Belafonte's face is completely revealing in its anguish that can only express itself through his luminous face, haunted eyes, and single tear rolling down the side of his face. It's here he decides he must make do as the Last Man on Earth, trying not to lose his sanity when apparently, being sane is now as frightening as being alone.
For a moment, then, the story becomes an exercise in a surreal dream. Belafonte will still be alone on camera for another stretch of time and he acts as if he still has people around him -- all the more unsettling. He has dinner with mannequins, he sings to no one in particular, and plays with his own shadow as if he were trying to make that shadow another person -- an extension of himself.
When someone finally does appear, the story takes off into some different territory and loses some of its punch. When we see her, Inger Stevens is appropriately dressed in black and looks like she's just about lost her mind. She could well be in a state of extended mourning. Seeing another human should cause relief, but the movie has other melodramatic intentions, and from here on, it begins to fail.
In most stories about people finding each other after a global catastrophe there's a sense of madness just underneath a facade of happy anxiety. After all, when you think you're the only person left alive and you see someone else, you're wary but equally overjoyed. MacDougall is good in focusing on this aspect -- he at first makes us see Stevens' feet as she follows Belafonte (though their appearance is too quick to make me believe Belafonte did not hear her behind him). It's when they begin interacting and she chooses to dress in suburban white and act as if nothing had happened that I felt the seams of credibility burst. Adding another male character -- Mel Ferrer's -- is good, but bad, because now it creates the basis of a possible conflict. The fact that Stevens and race is the source of conflict is practically unbelievable considering what they've gone through, but race was an issue in 1959. This of course is the problem: old patterns of conflict have to emerge in order to maintain a sense of familiarity, as in Stephen King's "The Stand." It's why these types of movies are good in concept, but fail in execution. THE WORLD, THE FLESH, AND THE DEVIL would have fit as an episode of "The Twilight Zone", but not as a 90 minute feature-length film.
For Caring Hearts who Want to Think
geoff3326 January 2001
This movie will grab your interest and exercise your moral fiber. The setting of the movie is New York City after a catastrophe that eliminates all the people on the planet, except a few. Race, prejudice and pride are but minor subplots in this excellent film. A fair minded and humanitarian black man discovers the true nature of life and friendship in a white woman. A sheltered white woman finds the friendship of a black man who is everything she loves and desires in a lover, but nothing at all like her upbringing would endorse. Suddenly, her psychological paradise is shattered when a third person comes along who threatens to bring back all the old ways of thinking that separated people and cultures throughout generations. Black and white has never been so colorful.
Entertaining but logically flawed
AJ4F2 November 2014
Warning: Spoilers
This is not a dull movie but when you really examine the plot it makes little sense.
What happened to all the people killed by radiation? They wouldn't just vanish. Evacuating everyone from a huge city like New York seems impractical. Where would they all travel to?
Why would a guy who's got experience with mines and power supplies not even think to try the tap water in an apartment vs. lugging water upstairs? People would automatically at least turn a spigot once.
Why are so many guns tossed away in temporary fits of disgust? In a future like that, people would horde guns for self defense against the dark forces. Or at least hunting, if any animals survived.
Last but not least, why would that same (black) guy, in proximity to an extremely shapely white woman, make race such an issue with almost nobody else around to care? Good grief, man, just go for it!
I found this film too tunnel-visioned to be realistic, given the circumstances of its setting. It forced a narrow, racial concern into a world where it no longer applied. But it's well made enough to be worth watching. The ambiguous ending is also interesting, though its practical implications are risqué.
What happened to all the people killed by radiation? They wouldn't just vanish. Evacuating everyone from a huge city like New York seems impractical. Where would they all travel to?
Why would a guy who's got experience with mines and power supplies not even think to try the tap water in an apartment vs. lugging water upstairs? People would automatically at least turn a spigot once.
Why are so many guns tossed away in temporary fits of disgust? In a future like that, people would horde guns for self defense against the dark forces. Or at least hunting, if any animals survived.
Last but not least, why would that same (black) guy, in proximity to an extremely shapely white woman, make race such an issue with almost nobody else around to care? Good grief, man, just go for it!
I found this film too tunnel-visioned to be realistic, given the circumstances of its setting. It forced a narrow, racial concern into a world where it no longer applied. But it's well made enough to be worth watching. The ambiguous ending is also interesting, though its practical implications are risqué.
Science fiction that says something
gbill-7487711 January 2017
Isn't it interesting that it's often science fiction that presents groundbreaking topics so relevant to the real world? What starts as a dystopian film, where Harry Belafonte's character finds himself alone in a world destroyed by WWIII while he was buried in a mine shaft, quickly introduces racial themes when he finds a white woman played by Inger Stevens. The two of them turn in strong performances, both beautiful and expressive, with great scenes including her returning from a 'shopping trip' (quipping "the service was terrible, but I got a few bargains"), him cutting her hair at her insistence (though she grows concern with each hack he takes), and him setting up service for her on her birthday at a supper club. The racial undertones start with Belafonte concerned about the two of them living together because "people will talk" (what people?!), and then Stevens exclaiming "I'm free, white, and 21, and I'll do what I please" while flustered, that ultimate assertion of white privilege at that time. I love how Belafonte calls her on it later, saying that while it's just an expression to her, "to me it's an arrow in my guts!" You know then that the film is actually saying something. Things get even more complicated when Mel Ferrer shows up, and immediately, even with only three people in the world, we feel the basis for so much of mankind's problems – sexual jealousy, and racial divisions – captured in a nutshell.
Stevens is more attracted to Belafonte, who is charming, sings, takes interest in preserving books and paintings, fixes things like the electricity, phones, and radio, and who loves her too – but he's black. Ferrer, on the other hand, is a chauvinist who literally says "Me man, you girl, how about it?" The film tried to toe the line with what would be acceptable in 1959, and doesn't include an interracial kiss (despite the cast's wish that it would have), because producers deemed that America was not ready for that – and indeed it wasn't, given the reaction to the film in the South. There are fantastic scenes of the two men hunting each other in the deserted New York, including a scene at Ralph Bunche Park with the phrase from Isaiah ("They shall beat their swords into plowshares ") on the wall in the background. I loved the ending ("The Beginning") as well, campy as it might have been.
If you watch and find the beginning dragging a bit, give it a chance. I think one of the main problems is we've seen this "last man on the earth" type scenery copied so many times in films over the years. Belafonte was a huge star at the time, but I personally could have done without his songs, not because they're bad or anything, but because I think they defocus things. Inger Stevens, who others know as the "Farmer's Daughter", but who I remember fondly from the 1967 movie "A Guide for the Married Man" with Walter Matthau, is a good match for him. Overall, the film seems to capture so many elements of the 1950's – the fear of nuclear war, a little bit of the 'B movie' camp (I mean, check out that title), and the racial unease, with a hint of the progress that would follow. It may feel a bit like an extended Twilight Zone episode with a bigger budget, and it's very well done.
Stevens is more attracted to Belafonte, who is charming, sings, takes interest in preserving books and paintings, fixes things like the electricity, phones, and radio, and who loves her too – but he's black. Ferrer, on the other hand, is a chauvinist who literally says "Me man, you girl, how about it?" The film tried to toe the line with what would be acceptable in 1959, and doesn't include an interracial kiss (despite the cast's wish that it would have), because producers deemed that America was not ready for that – and indeed it wasn't, given the reaction to the film in the South. There are fantastic scenes of the two men hunting each other in the deserted New York, including a scene at Ralph Bunche Park with the phrase from Isaiah ("They shall beat their swords into plowshares ") on the wall in the background. I loved the ending ("The Beginning") as well, campy as it might have been.
If you watch and find the beginning dragging a bit, give it a chance. I think one of the main problems is we've seen this "last man on the earth" type scenery copied so many times in films over the years. Belafonte was a huge star at the time, but I personally could have done without his songs, not because they're bad or anything, but because I think they defocus things. Inger Stevens, who others know as the "Farmer's Daughter", but who I remember fondly from the 1967 movie "A Guide for the Married Man" with Walter Matthau, is a good match for him. Overall, the film seems to capture so many elements of the 1950's – the fear of nuclear war, a little bit of the 'B movie' camp (I mean, check out that title), and the racial unease, with a hint of the progress that would follow. It may feel a bit like an extended Twilight Zone episode with a bigger budget, and it's very well done.
Where Is Everybody? Writ Large.
rmax30482321 December 2012
Warning: Spoilers
It resembles closely the pilot episode of "The Twilight Zone," called "Where Is Everybody?", only this time it's not a dream. Harry Belafonte is trapped in a caved-in mine and survives an attack of radioactive something or other, the kind that kills everybody without leaving any untidy corpses around.
Belafonte digs his way out, discovers what happened, and makes his way to Manhattan, where he finds nothing but emptiness. He fixes up a block of New York with a generator and lights but is despondent and lonely -- until blond, sexy Inger Stevens shows up. They're both delighted. He fixes her a flat in the same building as his and they get to know one another, well enough so that Belfonte, a black man, confesses that he loves her but, what with his race, they live in two different worlds. She says nothing about love but, just as he's good with things, she's practical about relationships. "We're the only two people left alive." Not quite true. Mel Ferrer stumbles into their little nest. They nurse him back to health and it complicates the tentative arrangement. He's not a bad guy, but as Stevens describes it, Belafonte can't make up his mind about what he wants, while Ferrer knows exactly what he wants and will stop at almost nothing to get it.
It's all believable enough. There are three people left alive on earth. The woman worries about which man she should marry, and the two men plan to murder each other.
Belafonte, although confused and embittered, is clearly the more noble of the two. He puts an end to the shooting match by throwing away his rifle and announcing that he's leaving for parts unknown. Stevens talks him out of it and her pale white hand takes his strong dark hand. Then they hurry to catch up with Ferrer and he takes Stevens' other hand.
What -- asks the discerning viewer -- is going to happen next? Don't ask. Why SHOULD you ask? The writers certainly didn't. Maybe polyandry.
It's an interesting movie until the appearance of Mel Ferrer, who is a nuisance. Inger Stevens is visibly horny and at one point, when Ferrer forces her into a dark niche in the row of skyscrapers, she says, "Do you want to kiss me? Make love to me? Go ahead." Until then we've seen nothing but her growing affection for Belafonte.
It must have been a shocker in 1959. The South still had "white" and "colored" drinking fountains and johns. If you wanted a hamburger you didn't sit at the counter; you waited at the take-out window. This was considered normal.
There are some effective scenes, such as Belafonte first wandering the deserted streets of the city and shouting up at the stone cliffs that hover over him, the thousand windows like dead eyes, and Belafonte screaming, "I know you're there! I can feel you watching me!" And again, when Stevens gaily asks Belafonte to cut her wavy blond hair. He doesn't look forward to the intimacy of the act and begins cutting carelessly, increasingly angry, blowing the fluffs of severed golden hair from the back of his hand. She finally tells him he's hurting her and he throws the scissors down and walks off.
But the musical score is by Miklos Rozsa and practically duplicates all his other scores. His work was dramatic but dull. The performances are alright. Belafonte is handsome and convincing, and Ferrer is an effective catalyst. Inger Stevens does fine in the role of a woman whose part is full of blanks. It's the script that's the problem. I understood what Belafonte was about, and I had a general idea of what Ferrer was up to, but Stevens was impossible to figure out, aside from her terrifying thought that she might never be married. (Is that from the 1950s or what?) The climax is a cop out. Nothing is resolved. All such endings -- in which the writers have entirely run out of ideas except "let's not offend anyone who might buy a ticket to the movie" -- should be abjured, banished from the screen, sent to the lesser moons of Jupiter.
Belafonte digs his way out, discovers what happened, and makes his way to Manhattan, where he finds nothing but emptiness. He fixes up a block of New York with a generator and lights but is despondent and lonely -- until blond, sexy Inger Stevens shows up. They're both delighted. He fixes her a flat in the same building as his and they get to know one another, well enough so that Belfonte, a black man, confesses that he loves her but, what with his race, they live in two different worlds. She says nothing about love but, just as he's good with things, she's practical about relationships. "We're the only two people left alive." Not quite true. Mel Ferrer stumbles into their little nest. They nurse him back to health and it complicates the tentative arrangement. He's not a bad guy, but as Stevens describes it, Belafonte can't make up his mind about what he wants, while Ferrer knows exactly what he wants and will stop at almost nothing to get it.
It's all believable enough. There are three people left alive on earth. The woman worries about which man she should marry, and the two men plan to murder each other.
Belafonte, although confused and embittered, is clearly the more noble of the two. He puts an end to the shooting match by throwing away his rifle and announcing that he's leaving for parts unknown. Stevens talks him out of it and her pale white hand takes his strong dark hand. Then they hurry to catch up with Ferrer and he takes Stevens' other hand.
What -- asks the discerning viewer -- is going to happen next? Don't ask. Why SHOULD you ask? The writers certainly didn't. Maybe polyandry.
It's an interesting movie until the appearance of Mel Ferrer, who is a nuisance. Inger Stevens is visibly horny and at one point, when Ferrer forces her into a dark niche in the row of skyscrapers, she says, "Do you want to kiss me? Make love to me? Go ahead." Until then we've seen nothing but her growing affection for Belafonte.
It must have been a shocker in 1959. The South still had "white" and "colored" drinking fountains and johns. If you wanted a hamburger you didn't sit at the counter; you waited at the take-out window. This was considered normal.
There are some effective scenes, such as Belafonte first wandering the deserted streets of the city and shouting up at the stone cliffs that hover over him, the thousand windows like dead eyes, and Belafonte screaming, "I know you're there! I can feel you watching me!" And again, when Stevens gaily asks Belafonte to cut her wavy blond hair. He doesn't look forward to the intimacy of the act and begins cutting carelessly, increasingly angry, blowing the fluffs of severed golden hair from the back of his hand. She finally tells him he's hurting her and he throws the scissors down and walks off.
But the musical score is by Miklos Rozsa and practically duplicates all his other scores. His work was dramatic but dull. The performances are alright. Belafonte is handsome and convincing, and Ferrer is an effective catalyst. Inger Stevens does fine in the role of a woman whose part is full of blanks. It's the script that's the problem. I understood what Belafonte was about, and I had a general idea of what Ferrer was up to, but Stevens was impossible to figure out, aside from her terrifying thought that she might never be married. (Is that from the 1950s or what?) The climax is a cop out. Nothing is resolved. All such endings -- in which the writers have entirely run out of ideas except "let's not offend anyone who might buy a ticket to the movie" -- should be abjured, banished from the screen, sent to the lesser moons of Jupiter.
"The World, the Flesh and the Devil"
latob3 January 2006
It is a movie at a time when a comfortable 50's America was 'asleep' re: the possibilities of a nuclear war......a sort of 'mass denial'. This movie started a trend re: the nuclear issue and 'the end of the world'; for later on that year (1959) there was "On the Beach", and in the early 60's, there was "Alas Babylon", etc. The movie "The World, the Flesh" and the Devil" was in startling black and white in both the filming and the actors. I was only in the 6th grade, so it made an enormous impact on me. The images of New York City completely EMPTY was shocking and too real to be believed! I was a bit disappointed when it succumbed to a romantic and sexual attraction level --- but now as an adult, I feel that those situations could very well happen as well....and after all , the movie had to make money! I am glad that this movie will be released on April 10, 2006.
Compelling and illogical, a guilty pleasure
fitzvizion12 October 2005
Like a trashy coffee table book you just can't put down. Hard to say why, but I keep going back and watching this film again and again. The irresistible notion of a single man roaming the empty streets of the big city, holds my attention every time. However, the execution of such a powerful idea gets muddled in this particular telling. For example, the city is clean -- there are no dead bodies, and any force powerful enough to disintegrate the bodies would have left traces, of which there are none. Despite the significant problems I had with this picture, I rushed out to buy the DVD first chance I got. And I bought Miklos Rozsa's score, too.
The black...the white...and the blond...
macabro35717 July 2003
Harry Belafonte emerges from a mine after an accident and discovers that the world is deserted, except for Inger Stevens and Mel Ferrer.
Some kind of nuclear war has taken place and there are few survivors. No dead bodies, no rotting corpses. No physical body traces of any kind.
Some people have said that Ferrer played a bigot in this film, but I didn't see much of that at all since the main conflict between Belafonte and Ferrer is based more on lust than anything else.
But since this is 1959, we can't show interracial love onscreen because many parts of the country would wind up banning the film, so MGM and Belafonte keep the lust toned down and mostly implied. The viewer should just look at it in the context of the times that it was made in, and not try to apply 2003 standards to something filmed over 40 years ago.
The deserted lower Manhattan streets including Times Square look pretty cool. They must have filmed them on an early Sunday morning in order to keep any traffic disruption to a minimum.
And the ending resorts to a preachy "The Beginning" stamped across the screen as the three of them walk down a deserted Manhattan street. I guess only goodwill comes next, huh?
If you want to see a better "end of the world" flick from the same period, then check out the Arch Oboler's rarely-seen FIVE (1951) or Stanley Kramer's ON THE BEACH, made during the same year as this one. I thought they were done better.
5 out of 10 for clearing out New York in time.
Some kind of nuclear war has taken place and there are few survivors. No dead bodies, no rotting corpses. No physical body traces of any kind.
Some people have said that Ferrer played a bigot in this film, but I didn't see much of that at all since the main conflict between Belafonte and Ferrer is based more on lust than anything else.
But since this is 1959, we can't show interracial love onscreen because many parts of the country would wind up banning the film, so MGM and Belafonte keep the lust toned down and mostly implied. The viewer should just look at it in the context of the times that it was made in, and not try to apply 2003 standards to something filmed over 40 years ago.
The deserted lower Manhattan streets including Times Square look pretty cool. They must have filmed them on an early Sunday morning in order to keep any traffic disruption to a minimum.
And the ending resorts to a preachy "The Beginning" stamped across the screen as the three of them walk down a deserted Manhattan street. I guess only goodwill comes next, huh?
If you want to see a better "end of the world" flick from the same period, then check out the Arch Oboler's rarely-seen FIVE (1951) or Stanley Kramer's ON THE BEACH, made during the same year as this one. I thought they were done better.
5 out of 10 for clearing out New York in time.
Good entry in the last man on earth sub-genre
gortx27 November 2022
Behind its rather emphatic title is a suitably sober entry in the 'Last Man On Earth' sub-genre. Harry Belafonte plays Ralph, a miner who was underground when an apocalypse occurs. As in many of these tales, for a while he truly believes he is the only human survivor and sets up his own little world in NYC; And, of course, he's usually wrong.
Sarah (Inger Stevens) arrives on the scene. Less understanding and tactful is Mel Ferrer as Benson. It's a racially charged triangle, but, it's handled fairly maturely by writer-director Ranald MacDougall (based on stories by M. P. Shiel and Ferdinand Reyher), even if too demurely. The actors apparently pushed MacDougall to be more open with the relationships, but the Director balked. Even with that cautious approach, the film didn't do well at the box office and it is said that some Southern theaters didn't even book it. The acting by all three helps with Belafonte showing off his considerable screen charm. Why is it, that when there is a "last trio" on earth it always seems to be two men and a woman?
The stark empty streets of New York are shot in Cinemascope by Harold Marzorati and the great Miklos Rosza provides the rousing score. THE WORLD, THE FLESH, AND THE DEVIL isn't the definitive word on the last person trope, but, it's a solid late 50s example.
Sarah (Inger Stevens) arrives on the scene. Less understanding and tactful is Mel Ferrer as Benson. It's a racially charged triangle, but, it's handled fairly maturely by writer-director Ranald MacDougall (based on stories by M. P. Shiel and Ferdinand Reyher), even if too demurely. The actors apparently pushed MacDougall to be more open with the relationships, but the Director balked. Even with that cautious approach, the film didn't do well at the box office and it is said that some Southern theaters didn't even book it. The acting by all three helps with Belafonte showing off his considerable screen charm. Why is it, that when there is a "last trio" on earth it always seems to be two men and a woman?
The stark empty streets of New York are shot in Cinemascope by Harold Marzorati and the great Miklos Rosza provides the rousing score. THE WORLD, THE FLESH, AND THE DEVIL isn't the definitive word on the last person trope, but, it's a solid late 50s example.
A solid entry in the "End of The World" genera of film.
IndridC0ld13 April 2020
I saw this film on the late show when I was a kid, and remember being disappointed that there were no monster mutants running around. I also remember Belafonte singing his "I don't like it here" song that I would start to sing whenever I was someplace or doing something I wasn't enjoying.
Fifty years later, I can truly appreciate the masterful performance by Mr. Belafonte and the stark and frightening cinematography that made this film so believable. Most of all I remember the soundtrack and the way it builds as Mr. Belafonte is faced with a succession of evidence that he is, in fact, the last man in NYC and maybe the world. He very convincingly emotes a man who must be thinking "I know this is all a dream but why can't I wake UP!!!" It is therefore, the emotional momentum of the first half of the movie that carries the audience along through the picture's inferior second half. Not an awful second half, just not what the first half had me prepared for.
Fifty years later, I can truly appreciate the masterful performance by Mr. Belafonte and the stark and frightening cinematography that made this film so believable. Most of all I remember the soundtrack and the way it builds as Mr. Belafonte is faced with a succession of evidence that he is, in fact, the last man in NYC and maybe the world. He very convincingly emotes a man who must be thinking "I know this is all a dream but why can't I wake UP!!!" It is therefore, the emotional momentum of the first half of the movie that carries the audience along through the picture's inferior second half. Not an awful second half, just not what the first half had me prepared for.
A thoughtful look at loneliness and friendship in troubled times
davehead330 May 2020
Warning: Spoilers
I'm a little surprised at how little attention some reviewers paid to the plot of this movie.
Regarding the lack of bodies, we're told via newspaper headlines that: 1) The world has been decimated by radioactive poison, and 2) All the cities have been deserted. That's why there are no bodies in the cities. Could there be some bodies in the vehicles between cities? Could there be some traces of people who didn't evacuate and died in a corner somewhere? Possibly, but we don't see them, and that's fine.
Regarding the low number of survivors, we're told via shortwave radio transmissions that there are more survivors out there (possibly in Europe or South America), but we don't know how many. The idea that only 3 survivors would journey to the same part of NYC isn't wholly unbelievable given the circumstances.
The real meat of this story is in the personal journey of Ralph Burton, a miner whose skills make him a natural leader in the new world, but who could never have had the same status in the old world on account of his skin color. Ralph wrestles with the pros and cons of an empty world, but just when he's at his breaking point (RIP Snodgrass), a beautiful young woman Sarah shows up.
The two become good friends but can't quite bring themselves to romance, primarily because Ralph knows that if there are more survivors out there, things could return to the way they were, including racism. Ralph is so resentful of this possibility that he starts distancing himself from Sarah in advance, much to her frustration. He can't risk becoming too comfortable in this new world, no matter how much he cares for Inger (the birthday scene is a perfect example of this).
The arrival of of third survivor, Benson, serves as an excuse for Ralph to cement the racial divide between him and Sarah, and to delve deeper into resentment and focus on his work. Benson, for his part, has no problem with Ralph and talks to him as an equal. Seeing that Ralph has no interest in Sarah, Benson grows closer to her over time and enjoys his time in this new world, which breeds further resentment in Ralph, who's reminded of the ever-cheerful Snodgrass (who he killed).
Ralph's repressed desires eventually become apparent to Benson, who becomes frustrated with both Ralph and Sarah who can't seem to make up their minds about where Benson ought to fit into this new world. Benson can't feel safe in a relationship with Sarah so long as Ralph is alive, so Benson chooses to escalate the tension to physical violence (World War 4) and force Ralph to make his decision: Kill Benson and have Sarah to himself, or die which allows Benson to pursue Sarah unimpeded.
Ultimately Ralph's choice is the peaceful refusal to choose, placing the men at the same impasse they were at before. Both he and Benson are prepared to wander off in frustration and defeat, but Sarah insists that they both stay. And thus, some new world begins. Is it a happier one? A dysfunctional one? One in which interracial polygamy is acceptable? We don't know.
This film has a lot to offer in terms of thoughtful reflections, dramatic encounters, and comedic bits, which are usually all intertwined in the same scene. Where it falls short is the unresolved ending and the fact that watching three people in an empty city can get, well, kind of boring sometimes if you're not in the right mood.
Regarding the lack of bodies, we're told via newspaper headlines that: 1) The world has been decimated by radioactive poison, and 2) All the cities have been deserted. That's why there are no bodies in the cities. Could there be some bodies in the vehicles between cities? Could there be some traces of people who didn't evacuate and died in a corner somewhere? Possibly, but we don't see them, and that's fine.
Regarding the low number of survivors, we're told via shortwave radio transmissions that there are more survivors out there (possibly in Europe or South America), but we don't know how many. The idea that only 3 survivors would journey to the same part of NYC isn't wholly unbelievable given the circumstances.
The real meat of this story is in the personal journey of Ralph Burton, a miner whose skills make him a natural leader in the new world, but who could never have had the same status in the old world on account of his skin color. Ralph wrestles with the pros and cons of an empty world, but just when he's at his breaking point (RIP Snodgrass), a beautiful young woman Sarah shows up.
The two become good friends but can't quite bring themselves to romance, primarily because Ralph knows that if there are more survivors out there, things could return to the way they were, including racism. Ralph is so resentful of this possibility that he starts distancing himself from Sarah in advance, much to her frustration. He can't risk becoming too comfortable in this new world, no matter how much he cares for Inger (the birthday scene is a perfect example of this).
The arrival of of third survivor, Benson, serves as an excuse for Ralph to cement the racial divide between him and Sarah, and to delve deeper into resentment and focus on his work. Benson, for his part, has no problem with Ralph and talks to him as an equal. Seeing that Ralph has no interest in Sarah, Benson grows closer to her over time and enjoys his time in this new world, which breeds further resentment in Ralph, who's reminded of the ever-cheerful Snodgrass (who he killed).
Ralph's repressed desires eventually become apparent to Benson, who becomes frustrated with both Ralph and Sarah who can't seem to make up their minds about where Benson ought to fit into this new world. Benson can't feel safe in a relationship with Sarah so long as Ralph is alive, so Benson chooses to escalate the tension to physical violence (World War 4) and force Ralph to make his decision: Kill Benson and have Sarah to himself, or die which allows Benson to pursue Sarah unimpeded.
Ultimately Ralph's choice is the peaceful refusal to choose, placing the men at the same impasse they were at before. Both he and Benson are prepared to wander off in frustration and defeat, but Sarah insists that they both stay. And thus, some new world begins. Is it a happier one? A dysfunctional one? One in which interracial polygamy is acceptable? We don't know.
This film has a lot to offer in terms of thoughtful reflections, dramatic encounters, and comedic bits, which are usually all intertwined in the same scene. Where it falls short is the unresolved ending and the fact that watching three people in an empty city can get, well, kind of boring sometimes if you're not in the right mood.
The World, The Flesh and the Cinema...
higherall79 July 2016
Warning: Spoilers
This is a fine film that nonetheless highlights the limitations of cinema versus theater. It brings to mind THE DUTCHMAN which I was surprised to find was done as a film adaption before Leroi Jones became Amiri Baraka. The opening scenes are indeed stunning and brilliant and do credit to the professional craft of Harold J. Marzorati. As in the original THE DAY THE EARTH STOOD STILL, all the howlers and logical inconsistencies are there, but this does little injury to the novel concept of Adam and Eve finding each other in a dystopian Garden of Eden.
Because there are no rotting bodies or other evidences of radiation produced consequences, this feels like a stage play set up by aliens to observe humans recently acquired for their Intergalactic Zoo as they work their way through a well simulated scenario of the End of the World. A great idea to introduce prime human physical specimens into. So we eagerly await the encounters between Inger Stevens as Sarah Crandall and Harry Belafonte as Ralph Burton to see what fireworks will commence.
Naturally, the aliens will be taking notes for their Encyclopedia Galactica and their Catalogue of Interplanetary Species available for a limited time only and on sale. The problem is it's as though the principals involved somehow sense that they are being watched and their reactions, especially on Belafonte's part, feel forced and less spontaneous than one would imagine between an attractive male and an attractive woman. The scene where Ralph Burton can barely bring himself to cut Sarah Crandall's hair is a case in point.
While I did not expect them to rush each other a la SWEET SWEETBACK'S BADASS SONG, I was expecting a little more romance between the two; and perhaps a walk through the ruins of New York to visit the local library, museum and church or even night club, hospital and cemetery to further extend the theme of Metropolitan devastation introduced by director Ranald MacDougall and his cinematographer Marzorati. This would have been visually more interesting and allowed for flashbacks of a prior life to give background and depth to their characters. As it is, we actually find out little about Sarah Crandall and Ralph Burton in terms of their personal histories with friends and families, etc. That's really a shame as there was so much to work with here.
The bias in film of course is to accent the visual over the verbal, but here it appears that neither the visual or the verbal is much exploited past the novelty of placing a black man and a white woman in a playhouse as large as a city and then seeing how they adapt to this strange environment. This is neither 'NAKED AND AFRAID' or ' DINNER WITH THE LAST MAN AND WOMAN ON EARTH' and either route would have made for more compelling watching either on the voyeuristic plane or the emotional and intellectual plane. It would have been interesting to see the two compare cultural perspectives and even vent angst about competing cultural aspirations with a little bit more than irritated frustration and resentment.
All this being said, and taking into account the racist and sexist atmosphere of the times in which this film was made, it still succeeds largely on it's own merits. I just think it would have been interesting to have both Sarah Crandall and Ralph Burton see a little bit more of The World, both singly and together, show a little bit more of The Flesh they were so stoically keeping from getting all worked up over, and for Mel Ferrer's arrival as The Devil to be a lot more devilish before he calls his gang in to separate Sarah Crandall from Ralph Burton forever as they attempt to take over the city for themselves.
Just my idea of how matters could have developed and progressed through a full blown catharsis to an electrifying end. The musical score by Miklos Roza and hearing Belafonte sing are also undeniable features of interest.
Because there are no rotting bodies or other evidences of radiation produced consequences, this feels like a stage play set up by aliens to observe humans recently acquired for their Intergalactic Zoo as they work their way through a well simulated scenario of the End of the World. A great idea to introduce prime human physical specimens into. So we eagerly await the encounters between Inger Stevens as Sarah Crandall and Harry Belafonte as Ralph Burton to see what fireworks will commence.
Naturally, the aliens will be taking notes for their Encyclopedia Galactica and their Catalogue of Interplanetary Species available for a limited time only and on sale. The problem is it's as though the principals involved somehow sense that they are being watched and their reactions, especially on Belafonte's part, feel forced and less spontaneous than one would imagine between an attractive male and an attractive woman. The scene where Ralph Burton can barely bring himself to cut Sarah Crandall's hair is a case in point.
While I did not expect them to rush each other a la SWEET SWEETBACK'S BADASS SONG, I was expecting a little more romance between the two; and perhaps a walk through the ruins of New York to visit the local library, museum and church or even night club, hospital and cemetery to further extend the theme of Metropolitan devastation introduced by director Ranald MacDougall and his cinematographer Marzorati. This would have been visually more interesting and allowed for flashbacks of a prior life to give background and depth to their characters. As it is, we actually find out little about Sarah Crandall and Ralph Burton in terms of their personal histories with friends and families, etc. That's really a shame as there was so much to work with here.
The bias in film of course is to accent the visual over the verbal, but here it appears that neither the visual or the verbal is much exploited past the novelty of placing a black man and a white woman in a playhouse as large as a city and then seeing how they adapt to this strange environment. This is neither 'NAKED AND AFRAID' or ' DINNER WITH THE LAST MAN AND WOMAN ON EARTH' and either route would have made for more compelling watching either on the voyeuristic plane or the emotional and intellectual plane. It would have been interesting to see the two compare cultural perspectives and even vent angst about competing cultural aspirations with a little bit more than irritated frustration and resentment.
All this being said, and taking into account the racist and sexist atmosphere of the times in which this film was made, it still succeeds largely on it's own merits. I just think it would have been interesting to have both Sarah Crandall and Ralph Burton see a little bit more of The World, both singly and together, show a little bit more of The Flesh they were so stoically keeping from getting all worked up over, and for Mel Ferrer's arrival as The Devil to be a lot more devilish before he calls his gang in to separate Sarah Crandall from Ralph Burton forever as they attempt to take over the city for themselves.
Just my idea of how matters could have developed and progressed through a full blown catharsis to an electrifying end. The musical score by Miklos Roza and hearing Belafonte sing are also undeniable features of interest.
A remarkable film....just remarkable.
Rob_Taylor9 May 2011
Warning: Spoilers
When I was a LOT younger I remember seeing this film and being fascinated by it. As time passed and I grew older, I forgot the details until all I could remember was an apocalypse movie with some singer in it that my mother had liked. As the years passed I forgot it completely and it was only recently that I came across it again and had the pleasure of watching it as an adult.
To watch it now only highlights how far we've come as a society. Sometimes we forget, immersed in our day-to-day troubles, just how much better times are now. We have evolved, as a society, but to those of us who are part of that evolution, the changes happen so slowly we don't notice them. At least, not until something like this movie is revisited to see how things WERE.
The story follows the fortunes of a young black engineer after a mysterious apocalyptic event destroys all trace of humanity from the Earth. Man's works are left behind, but of man himself there is, for the early part of the film, only Belafonte's character.
With typical stoicism born of the post-war era, Belafonte first digs himself free of a collapsed mine, then sets about making a home for himself in the empty city. Bereft of companionship, his future looks a lonely one as he slowly pieces together what has happened to the world.
Of course, he soon discovers a white female survivor and this is where the film really starts to shine. The interplay between the two is electric and both Belafonte and Stevens give dynamic performances as they struggle to come to terms with their growing attraction to one another. Belafonte is particularly adept at getting across how the mindset of non-whites led them to believe they were inferior.
Given the time the film was made this in itself would be enough to make a fantastic film, but it's not enough for this movie. After a period where Belafonte and Steven's characters seem to have come to some sort of "truce" between themselves, they discover a third survivor - a white male.
Needless to say, the character dynamic undergoes a dramatic change, with Ferrer's white character trying to dominate the trio and taking an interest in Steven's female character.
All the usual love-triangle difficulties arise, made all the more intense because of the inter-racial aspect. As tensions mount, the two males eventually come to blows over the female regardless of her wishes in the matter.
So, what we have are inter-racials tensions along with (for the time) typical male misogyny.
The film is essentially this dynamic played out to an extreme. However, it is in fact the final scenes of the movie that really set it apart as something phenomenal.
Having fought and nearly killed each other, it seems set that the men will go their separate ways and the woman must choose one of them. However, with a truly unique twist, she chooses them both and the final scene is the three of them walking off into the distance, hand in hand whilst over the top of the scene appear the words "The beginning.." It may not sound like much, but for 1959 this was a truly epic scene to put on celluloid. The notion that a white woman might have relations with a black man let alone (as hinted strongly here) that there might be a threesome going on, was something that just wasn't done.
For those who didn't grow up with any of that racial or sexist nonsense, it might seem bizarre or unrealistic that such things were a big deal. And for you, the best equivalent I could cite in today's world as a similar taboo might involve a brother/sister incest relationship. It really was that big a deal back then.
Films like this are often forgotten, or ignored on channel playlists because of their age or content. This is a massive shame, because there are some truly magnificent films out there that are fading almost into myth because of a lack of exposure.
It is films like this that show us just how far we've come in fifty odd years. But it is also films like this that show us that, even back then, there were those who hoped for change and expressed that hope and desire through the medium of film.
If you like a good, tense character drama, then you'll not find many better than this one.
To watch it now only highlights how far we've come as a society. Sometimes we forget, immersed in our day-to-day troubles, just how much better times are now. We have evolved, as a society, but to those of us who are part of that evolution, the changes happen so slowly we don't notice them. At least, not until something like this movie is revisited to see how things WERE.
The story follows the fortunes of a young black engineer after a mysterious apocalyptic event destroys all trace of humanity from the Earth. Man's works are left behind, but of man himself there is, for the early part of the film, only Belafonte's character.
With typical stoicism born of the post-war era, Belafonte first digs himself free of a collapsed mine, then sets about making a home for himself in the empty city. Bereft of companionship, his future looks a lonely one as he slowly pieces together what has happened to the world.
Of course, he soon discovers a white female survivor and this is where the film really starts to shine. The interplay between the two is electric and both Belafonte and Stevens give dynamic performances as they struggle to come to terms with their growing attraction to one another. Belafonte is particularly adept at getting across how the mindset of non-whites led them to believe they were inferior.
Given the time the film was made this in itself would be enough to make a fantastic film, but it's not enough for this movie. After a period where Belafonte and Steven's characters seem to have come to some sort of "truce" between themselves, they discover a third survivor - a white male.
Needless to say, the character dynamic undergoes a dramatic change, with Ferrer's white character trying to dominate the trio and taking an interest in Steven's female character.
All the usual love-triangle difficulties arise, made all the more intense because of the inter-racial aspect. As tensions mount, the two males eventually come to blows over the female regardless of her wishes in the matter.
So, what we have are inter-racials tensions along with (for the time) typical male misogyny.
The film is essentially this dynamic played out to an extreme. However, it is in fact the final scenes of the movie that really set it apart as something phenomenal.
Having fought and nearly killed each other, it seems set that the men will go their separate ways and the woman must choose one of them. However, with a truly unique twist, she chooses them both and the final scene is the three of them walking off into the distance, hand in hand whilst over the top of the scene appear the words "The beginning.." It may not sound like much, but for 1959 this was a truly epic scene to put on celluloid. The notion that a white woman might have relations with a black man let alone (as hinted strongly here) that there might be a threesome going on, was something that just wasn't done.
For those who didn't grow up with any of that racial or sexist nonsense, it might seem bizarre or unrealistic that such things were a big deal. And for you, the best equivalent I could cite in today's world as a similar taboo might involve a brother/sister incest relationship. It really was that big a deal back then.
Films like this are often forgotten, or ignored on channel playlists because of their age or content. This is a massive shame, because there are some truly magnificent films out there that are fading almost into myth because of a lack of exposure.
It is films like this that show us just how far we've come in fifty odd years. But it is also films like this that show us that, even back then, there were those who hoped for change and expressed that hope and desire through the medium of film.
If you like a good, tense character drama, then you'll not find many better than this one.
Three's ALWAYS a crowd!
Coventry11 March 2009
Warning: Spoilers
Wow, this must be one of the most "ahead of their time" movies ever made! Back in a decade where the Sci-Fi genre almost exclusively existed of cheesy outer space invasion movies and tacky B-monster flicks, "The World, the Flesh and The Devil" brings an emotionally devastating and deeply discomforting portrait of a post-apocalyptic big blue marble. Richard Matheson wrote his hugely famous novella "I Am Legend" five years earlier in 1954 already, but this is cinema and also very different & innovating. Matheson's tale, which received three major film versions over the years, is primarily a Sci-Fi spectacle with the last man on earth battling against mutant creators or albino vampires, whereas this is merely a socially engaging drama unafraid to cover taboo topics like interracial rivalry, cultural differences, selfishness and mental collapsing. Quite courageous and ambitious aims for a low-budgeted movie, and I don't at all intend to claim "The World, the Flesh and the Devil" is a masterpiece or anything, but it's definitely an intriguing and praiseworthy effort with a reasonable amount of monumental sequences, horridly void locations and great acting.
After being trapped in a collapsed mine for five days, the optimistic (as he keeps serenading) and colored Ralph Burton gives up hope of being rescued and digs his own way out. To Ralph's astonishment, there's not a living soul in sight and even the giant city of New York is godforsaken. Following a reluctant process of accepting his position, Ralph courageously begins to rebuild his own private civilization with decorated buildings, electricity generators and even mannequin dolls for company. Then Sarah Crandall, another and female survivor, appears and the two build up a tight friendship even though Ralph maintains an unnatural distance between them. Several weeks and minor incidents later, a third survivor literally sails onto dry land and, like the ancient expression says, three's always a crowd. The while and confident Benson Thacker clearly intends to make advances with Sarah and sees a threatening competitor in Ralph. Talk about hopelessness when even the last three survivors can't even get along!
Particularly the first hour of "The World, the Flesh and the Devil" is very solid. The footage of Ralph wandering around the empty streets of NY in despair, or the sequences where he desperately tries to radio-contact others but eventually reverts to talking to plastic dolls, are unimaginably powerful. The romantic tension between him and Sarah as well result in a handful of superb moments, especially since director Ranald MacDougall genuinely generates the impression that they really are the last ones left and thus mankind's final hope for survival. Unfortunately, but like the title slightly forebodes already, the film eventually becomes too lyric, morally preachy and overly symbolic. The three main (and only) characters gradually alter into walking, talking exemplifications of their values and beliefs and their behavior simply isn't plausible. I just cannot believe that Ralph would react the way he does to certain situations, regardless of the fact he's black and presumably lived a life of oppression before the day of the apocalypse. Speaking of which, apart from the emptiness on city streets, there are very little signs indicating the end of the world. The areas are clean, the buildings are intact and there are no traces of possible mass hysteria. It is hinted that sodium clouds of dust caused the total annihilation of mankind, but it looks more like all humanity just vaporised into thin air. Shouldn't there be small piles of ashes and remnants of clothes all over the streets, or something? Obviously, the lack of horrific images and special effects in general are due to budgetary restrictions. Heck, the excessively moralist speeches are probably also meant to divert the attention from typical Sci-Fi scenery and stunt work. The final 15-20 minutes are quite preposterous, I must admit, but if you have a far-ranging sense of humor, you might still appreciate it. There's actually quite a lot of humor in "The World, the Flesh and the Devil", albeit it's often very repressed and dry. All the typical 'last man on earth' jokes pass the revue, but they're quite funny, like when Ralph rejects Sarah's proposal of moving in together by saying "the neighbors might talk". Good old Harry Belafonte is excellent in one of the only lead performances of his career and literally overpowers his male opponent, veteran and multi-versatile actor Mel Ferrer. Inger Stevens is simply ravishing. It's a damn shame she committed suicide at the age of 36; barely 11 years after the release of this film. In spite of some defaults "The World, the Flesh and The Devil" is a definite must-see for fans of intelligent Sci-Fi and extra suggested for people who saw and loved all the other entries in the "Last Man on Earth" sub genre.
After being trapped in a collapsed mine for five days, the optimistic (as he keeps serenading) and colored Ralph Burton gives up hope of being rescued and digs his own way out. To Ralph's astonishment, there's not a living soul in sight and even the giant city of New York is godforsaken. Following a reluctant process of accepting his position, Ralph courageously begins to rebuild his own private civilization with decorated buildings, electricity generators and even mannequin dolls for company. Then Sarah Crandall, another and female survivor, appears and the two build up a tight friendship even though Ralph maintains an unnatural distance between them. Several weeks and minor incidents later, a third survivor literally sails onto dry land and, like the ancient expression says, three's always a crowd. The while and confident Benson Thacker clearly intends to make advances with Sarah and sees a threatening competitor in Ralph. Talk about hopelessness when even the last three survivors can't even get along!
Particularly the first hour of "The World, the Flesh and the Devil" is very solid. The footage of Ralph wandering around the empty streets of NY in despair, or the sequences where he desperately tries to radio-contact others but eventually reverts to talking to plastic dolls, are unimaginably powerful. The romantic tension between him and Sarah as well result in a handful of superb moments, especially since director Ranald MacDougall genuinely generates the impression that they really are the last ones left and thus mankind's final hope for survival. Unfortunately, but like the title slightly forebodes already, the film eventually becomes too lyric, morally preachy and overly symbolic. The three main (and only) characters gradually alter into walking, talking exemplifications of their values and beliefs and their behavior simply isn't plausible. I just cannot believe that Ralph would react the way he does to certain situations, regardless of the fact he's black and presumably lived a life of oppression before the day of the apocalypse. Speaking of which, apart from the emptiness on city streets, there are very little signs indicating the end of the world. The areas are clean, the buildings are intact and there are no traces of possible mass hysteria. It is hinted that sodium clouds of dust caused the total annihilation of mankind, but it looks more like all humanity just vaporised into thin air. Shouldn't there be small piles of ashes and remnants of clothes all over the streets, or something? Obviously, the lack of horrific images and special effects in general are due to budgetary restrictions. Heck, the excessively moralist speeches are probably also meant to divert the attention from typical Sci-Fi scenery and stunt work. The final 15-20 minutes are quite preposterous, I must admit, but if you have a far-ranging sense of humor, you might still appreciate it. There's actually quite a lot of humor in "The World, the Flesh and the Devil", albeit it's often very repressed and dry. All the typical 'last man on earth' jokes pass the revue, but they're quite funny, like when Ralph rejects Sarah's proposal of moving in together by saying "the neighbors might talk". Good old Harry Belafonte is excellent in one of the only lead performances of his career and literally overpowers his male opponent, veteran and multi-versatile actor Mel Ferrer. Inger Stevens is simply ravishing. It's a damn shame she committed suicide at the age of 36; barely 11 years after the release of this film. In spite of some defaults "The World, the Flesh and The Devil" is a definite must-see for fans of intelligent Sci-Fi and extra suggested for people who saw and loved all the other entries in the "Last Man on Earth" sub genre.
Very well-made drama
Skragg26 September 2006
I've seen many actors play the "last man on earth," and NO ONE ever played the part as believably as Harry Belafonte. There's his reaction when he's listening to those radio messages ; his shouting at the whole world to come back (I'm paraphrasing this) : "Where did you all go? What did I do?" ; his trying to live alone with the mannequins ; singing to himself ; his reaction when he finds out there's someone else ; his line when Mel Ferrer threatens him : "Is this World War IV ?" And Inger Stevens was extremely good in it, including her big argument with him, telling him she can live alone, with its almost funny little faux pas : "I'm free, white and 21." And Mel Ferrer, whose character (if I'm correct) was more arrogant in a GENERAL way than he was a bigot, seemed very right for that part. People have complained about the faulty science and similar things, but to me, those things pale alongside the actors and characters. One science fiction guidebook had a great line about this "last three people on earth" movie : "Well, at least one of them can sing."
racial politics at the end of the world
SnoopyStyle21 January 2020
Ralph Burton (Harry Belafonte) is inspecting an underground mine when a cave-in traps him. He manages to escape after a few days only to find the world empty of people. Everybody has died from an atomic poisoning. He travels to New York City where he seems to be the last man on Earth. He works to reconnect power to a building. He meets 21 year old Sarah Crandall (Inger Stevens). Somehow, race is still an issue which is only elevated by the arrival of Benson Thacker (Mel Ferrer).
It's fascinating to see racial politics to play out this way. I don't like Ralph getting angry while cutting her hair. There is a better way to portray the sexual tension. The other issue is that Benson should be more ruthless. Let's just say that the ending could be edgy or it could be a call for peace. The filmmaker may be trying to do something socially conscious but stumbled upon more than they could handle. I want it to be more dramatic and more real. It's always great to have the empty big city streets. It does lead to another problem. They need to call it something other than atomic poisoning. Radiation was something new back in the day and the terminology can be excused.
It's fascinating to see racial politics to play out this way. I don't like Ralph getting angry while cutting her hair. There is a better way to portray the sexual tension. The other issue is that Benson should be more ruthless. Let's just say that the ending could be edgy or it could be a call for peace. The filmmaker may be trying to do something socially conscious but stumbled upon more than they could handle. I want it to be more dramatic and more real. It's always great to have the empty big city streets. It does lead to another problem. They need to call it something other than atomic poisoning. Radiation was something new back in the day and the terminology can be excused.
Underrated sci-fi classic
pipdycaico4 May 2023
A mine inspector survives an apocalypse only to return to a deserted New York. He eventually meets a terrified young woman uncertain if her loneliness is driving her crazy. I saw this movie on TV as a child and the nuisances escaped me.
The relationship between the two survivors is slow moving but it sheds light on the race and sexual politics of 1959.
A third male survivor enters and the question becomes, will they cling to the past move forward.
There are no space aliens or monsters. The horror is the fear and loneliness of living in the husk of the the most lively cities of the world. I'm a 65 year old widower and these themes are important today as they were then.
The relationship between the two survivors is slow moving but it sheds light on the race and sexual politics of 1959.
A third male survivor enters and the question becomes, will they cling to the past move forward.
There are no space aliens or monsters. The horror is the fear and loneliness of living in the husk of the the most lively cities of the world. I'm a 65 year old widower and these themes are important today as they were then.
Good relic
marbleann21 January 2008
I actually seen this movie a million times. But I haven't seen it in a few years. It was OK. I thought if I saw it again I might find something else about it that I missed since I am older.
The reason I was not crazy bout it was because it tried to hard to make the black character played by Belafonte almost angelic, not man, a human who craves closeness. Who was he holding back for? He played the Sidney Poitier role, Sid must of been busy. The movie wants to pride itself in being innovated but it cops out. Belafonte has played very controversial roles before and since that movie so it was not like he never broke the taboo roles in movies. People want to say this was a first. But a few years earlier Belafante played the love interest of Joan Fontaine in a movie along with Dorothy Dandridge who was married to white man and James Mason who was passing. Was it because this was a American movie it did not take that one step, that never happens? Inger Stevens was very good because she is a real person who perhaps in her life before she never would of talked to a black man but sees reality as it is, No one is here any more so why not go for it. We do like each other.
But I like the Mel Ferrer part because I do believe he was the role the directors took chance with and was more truthful. We see even though his character that even though Stevens craves contact, she will not take it from a person she doesn't really like. Since we know that and Belafonte and she knows that what is they problem? The Ferrer character certainly knows that. I't is a interesting movie. But no one should take it as being anything but entertainment..
The reason I was not crazy bout it was because it tried to hard to make the black character played by Belafonte almost angelic, not man, a human who craves closeness. Who was he holding back for? He played the Sidney Poitier role, Sid must of been busy. The movie wants to pride itself in being innovated but it cops out. Belafonte has played very controversial roles before and since that movie so it was not like he never broke the taboo roles in movies. People want to say this was a first. But a few years earlier Belafante played the love interest of Joan Fontaine in a movie along with Dorothy Dandridge who was married to white man and James Mason who was passing. Was it because this was a American movie it did not take that one step, that never happens? Inger Stevens was very good because she is a real person who perhaps in her life before she never would of talked to a black man but sees reality as it is, No one is here any more so why not go for it. We do like each other.
But I like the Mel Ferrer part because I do believe he was the role the directors took chance with and was more truthful. We see even though his character that even though Stevens craves contact, she will not take it from a person she doesn't really like. Since we know that and Belafonte and she knows that what is they problem? The Ferrer character certainly knows that. I't is a interesting movie. But no one should take it as being anything but entertainment..
Grim tale of survivors after the blast...but poorly executed...
Doylenf9 May 2008
The writer took an interesting premise and kept it going with some credibility for the first half-hour. But the moment that HARRY BELAFONTE finds that he's not alone in the world and INGER STEVENS enters the story, it falls apart faster than you can blink. Nor are the interracial aspects of the friendship between Stevens and Belafonte played in a realistic way.
Even given the fact that this is science fiction, and we always have to suspend some disbelief to enjoy such a tale, there are too many plot contrivances that don't make sense. Stevens' character has been following Belafonte around for a couple of weeks before she dares to make a connection to him--highly unlikely. MEL FERRER turns up on a river barge having been all over the world looking for survivors and found none--apparently not even bodies. And yet we see pigeons on the streets of New York City early in the morning but a complete lack of corpses anywhere. Nevertheless, stores and wiring and electricity are almost untouched and there's even running water in the kitchen.
But what keeps the film on a lower level is the talent involved. HARRY BELAFONTE gives the most genuine performance here, but that's not saying much when you have the wooden MEL FERRER and the overly emotional INGER STEVENS tossing off lines as though they were doing a run through rehearsal for the senior play. Belafonte is fortunate in that his character seems the most logical and inventive of the three, while the plot gets sillier the moment the men start arguing over the attractive blonde and some racial remarks are made.
It doesn't help that the dialog is often childish or stilted and that Ranald MacDougall's screenplay and direction is unable to bring these characters alive and give them any depth. After the realistic first half-hour, the rest of the film is a letdown.
Miklos Rozsa's score is fittingly as low-key as the scenes showing a deserted city, but it has to be one of his least memorable works.
Even given the fact that this is science fiction, and we always have to suspend some disbelief to enjoy such a tale, there are too many plot contrivances that don't make sense. Stevens' character has been following Belafonte around for a couple of weeks before she dares to make a connection to him--highly unlikely. MEL FERRER turns up on a river barge having been all over the world looking for survivors and found none--apparently not even bodies. And yet we see pigeons on the streets of New York City early in the morning but a complete lack of corpses anywhere. Nevertheless, stores and wiring and electricity are almost untouched and there's even running water in the kitchen.
But what keeps the film on a lower level is the talent involved. HARRY BELAFONTE gives the most genuine performance here, but that's not saying much when you have the wooden MEL FERRER and the overly emotional INGER STEVENS tossing off lines as though they were doing a run through rehearsal for the senior play. Belafonte is fortunate in that his character seems the most logical and inventive of the three, while the plot gets sillier the moment the men start arguing over the attractive blonde and some racial remarks are made.
It doesn't help that the dialog is often childish or stilted and that Ranald MacDougall's screenplay and direction is unable to bring these characters alive and give them any depth. After the realistic first half-hour, the rest of the film is a letdown.
Miklos Rozsa's score is fittingly as low-key as the scenes showing a deserted city, but it has to be one of his least memorable works.
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