IMDb > Flesh and the Devil (1926)
Flesh and the Devil
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Flesh and the Devil (1926) More at IMDbPro »

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Down 10% in popularity this week. See why on IMDbPro.
Benjamin Glazer (screen play)
Hermann Sudermann (from the novel "The Undying Past" by)
View company contact information for Flesh and the Devil on IMDbPro.
Release Date:
25 December 1926 (USA) See more »
Childhood friends are torn apart when one of them marries the woman the other once fiercely loved. Full summary » | Full synopsis »
Plot Keywords:
1 win See more »
(41 articles)
 (From Trailers from Hell. 21 February 2017, 1:44 PM, PST)

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The Quiet Earth
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User Reviews:
Garbo and Cinematographer William Daniels are the real co-stars See more (37 total) »


  (in credits order) (verified as complete)

John Gilbert ... Leo von Harden

Greta Garbo ... Felicitas

Lars Hanson ... Ulrich von Eltz

Barbara Kent ... Hertha
William Orlamond ... Uncle Kutowski

George Fawcett ... Pastor Voss

Eugenie Besserer ... Leo's Mother

Marc McDermott ... Count von Rhaden (as Marc MacDermott)

Marcelle Corday ... Minna
rest of cast listed alphabetically:
Margie Angus ... Twin (uncredited)
Mary Angus ... Twin (uncredited)

Max Barwyn ... Ball Guest (uncredited)

Frankie Darro ... Boy Who Dances with Hertha (uncredited)

Philippe De Lacy ... Leo as a Boy (uncredited)
Virginia Marshall ... Hertha as a Girl (uncredited)

Polly Moran ... Family Retainer with Bouquet (uncredited)

Maurice Murphy ... Ulrich as a Boy (uncredited)
Russ Powell ... Family Retainer with Flag (uncredited)

Carl 'Major' Roup ... Train Station Vendor (uncredited)
Rolfe Sedan ... Womens' Hat Salesman (uncredited)
Bert Sprotte ... Sergeant Major (uncredited)
Ellinor Vanderveer ... Ball Guest (uncredited)
Glen Walters ... Family Retainer (uncredited)

Directed by
Clarence Brown 
Writing credits
Benjamin Glazer (screen play) (as Benjamin F. Glazer)

Hermann Sudermann (from the novel "The Undying Past" by)

Marian Ainslee (titles)

Hanns Kräly  uncredited
Frederica Sagor Maas  uncredited

Produced by
Kevin Brownlow .... video producer (1988 sound version)
David Gill .... video producer (1988 sound version)
Irving Thalberg .... producer (uncredited)
Original Music by
Carl Davis (1988 sound version)
Cinematography by
William H. Daniels (photographed by) (as William Daniels)
Film Editing by
Lloyd Nosler (film editor)
Set Decoration by
Fredric Hope (settings) (as Frederic Hope)
Production Management
Liz Sutherland .... production manager: video presentation (1988 sound version)
Second Unit Director or Assistant Director
Charles Dorian .... assistant director
Art Department
Cedric Gibbons .... settings
Camera and Electrical Department
Buddy Longworth .... still photographer (uncredited)
Ruth Harriet Louise .... publicity photographer (uncredited)
Costume and Wardrobe Department
André-ani .... wardrobe
Music Department
Richard Bradford .... music recordist (1988 sound version)
Carl Davis .... conductor (1988 sound version)
Peter Ernster .... dubbing assistant (1988 sound version)
Colin Matthews .... orchestrator (1988 sound version)
David Matthews .... orchestrator (1988 sound version)
Rolf Wilson .... orchestra leader (1988 sound version)
Other crew
Janice Brackenridge .... production assistant: video (1988 sound version)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"The Undying Past" - Belgium (English title) (uncensored intended title)
See more »
112 min | 112 min (1988 sound version)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Sweden:15 (cut) | UK:A (original rating) | UK:U (video) | USA:Not Rated | USA:Passed (National Board of Review)

Did You Know?

Carmel Myers was initially slated to star opposite John Gilbert, per a 1925 MGM press-book ad.See more »
Continuity: When Leo is talking to Felicitas on the bench in the park and tells her that he must go to Africa, the position of the collar of his overcoat repeatedly changes from pulled up to flat.See more »
Hertha:Leo and Ulrich have gone to kill each other! And you are the only one who can stop them!
Felicitas:I... what can I do?
Hertha:You can tell the truth!
See more »
ATRASee more »


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33 out of 37 people found the following review useful.
Garbo and Cinematographer William Daniels are the real co-stars, 10 March 2005

This is a rather long - for the period - tale of brotherly friendship interrupted by a femme fatale. The plot is simple - a woman destroys at least her husband's life and almost those of two best friends through loose morals.

Garbo is alluring as always and she looks much more glamorous here in her third MGM film than in the prior two (THE TORRENT, THE TEMPTRESS). The plot is interesting but evaporates as soon as one is through watching. What lingers in the mind and heart are Garbo's beauty and the physical beauty of the film.

Daniels'cinematography boasts a number of tracking (inside arriving and departing trains - the latter a premonition of a classic shot in SINCE YOU WENT AWAY) and dolly shots as well as some stunning compositions. Note the first shot - the bugler in silhouette against the rising sun, the swirling overhead shot of Garbo and Gilbert waltzing.

Three are standouts - the lighting of Garbo and Gilbert's faces in the grove with a baby spot acting as light from a lit match; the dolly in on the clenched fist of the husband who throws open his wife's boudoir door to find her with Gilbert - a perfect diagonal splitting the screen; and a penultimate piece of cinematic art - the entire duel sequence done in silhouettes of figures and trees - an extraordinary sequence.

There is excellent composition and lighting in the scene when Hanson discovers Garbo and Gilbert together and a fine use of multiple dissolves in the scene of the final duel.

The original music composed by Carl Davis for the Thames restoration of this film and released on the MGM/UA VHS of 1988 - now sadly out of print as are all of Garbo's silent films - is appropriate, especially the love theme (heard also on Kevin Brownlow's Hollywood documentary series). This lovely and unforgettable theme is heard in a number of scenes, primarily over the main title, the train meeting of Garbo and Gilbert, the ball where they dance, their idyll at her home, her imploring of Gilbert to return to Hanson's friendship, the final seduction scene and the last embrace.

A film to be seen as an example of how far the camera had come in a few short years - since Murnau's invention of the moving camera in THE LAST LAUGH (1924)and for Garbo's undying beauty.

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