O Diabo, a Carne e o Mundo

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?

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.

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.

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.

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.