IMDb > World and the Flesh (1932)

World and the Flesh (1932) More at IMDbPro »


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5.3/10   18 votes »
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Release Date:
22 April 1932 (USA) See more »
During the 1917 Russian revolution, a group of artistocrats find themselves in the custody of a brutal Communist revolutionary... See more » | Add synopsis »
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  (in credits order)

George Bancroft ... Kylenko

Miriam Hopkins ... Maria Yaskaya

Alan Mowbray ... Dimitri

George E. Stone ... Rutchkin
Mitchell Lewis ... Sukhanov

Max Wagner ... Vorobiov

Harry Cording ... Ivanovitch
Emmett Corrigan ... Gen. Spiro

Oscar Apfel ... Banker
Reginald Barlow ... Markov
Ferike Boros ... Sasha (Maria's maid)
rest of cast listed alphabetically:
Goerge Blagol ... (uncredited)

Carrie Daumery ... (uncredited)
Alexis Davidoff ... (uncredited)
Nadja Efron ... (uncredited)
Nicholai Kolovaloss ... (uncredited)

Bob Kortman ... Revolutionary (uncredited)
Michael Mark ... Revolutionary (uncredited)

Edwin Maxwell ... (uncredited)

Francis McDonald ... Revolutionary (uncredited)
Nina Miatleva ... (uncredited)
George Polonsky ... (uncredited)
Lucien Prival ... Cossack (uncredited)

Henry Victor ... Revolutionary (uncredited)
Alex Woloshin ... (uncredited)

Directed by
John Cromwell 
Writing credits
(in alphabetical order)
Oliver H.P. Garrett 
Ernst Spitz  play
Philip Zeska  play

Original Music by
Herman Hand (uncredited)
John Leipold (uncredited)
Stephan Pasternacki (uncredited)
Cinematography by
Karl Struss 
Casting by
Mel Ballerino  (as Melvin Ballerino)
Fred A. Datig 
Second Unit Director or Assistant Director
Russell Mathews .... assistant director (uncredited)
Sound Department
M.M. Paggi .... sound
Casting Department
Joe Egli .... casting assistant

Production CompaniesDistributors

Additional Details

Also Known As:
74 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Noiseless Recording)

Did You Know?

Director John Cromwell had real Russian émigrés recruited from around Los Angeles to be extras in this film. While this helped with the authentic atmosphere for the film, it angered many within the ranks registered, professional extras.See more »


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12 out of 13 people found the following review useful.
Author: rsoonsa ( from Mountain Mesa, California

The working title for this Paramount production, "Red Harvest", was discarded before its release due to popularity of Dashiell Hammett's novel of the same name published three years before the motion picture was completed (its replacement title signifies, of course, nothing). Although an excellent work, it was largely ignored because of its charitable depiction of Russian aristocrats during the 1919 Revolution, a latter day event in the experience of most contemporary critics in Depression devastated United States who viewed it as portal to a bold and promising proletarian adventure. John Cromwell, always a capable craftsman and noted for his close rapport with actors, has to deal here with two of the most temperamental: George Bancroft and Miriam Hopkins, the former's overweening ego and the insistence by the difficult Hopkins upon achievement of visual perfection for each of her scenes defeating most directors. Nonetheless, Cromwell, as is his custom, responds to a good script, as does any effectual talespinner, and as this example by Oliver Garrett, freely adapted from an original play of Philip Zeska and Ernst Spitz, is a very fine one indeed, he sagely permits Hopkins to create her own performance that consequently is only strengthened, while the director concentrates upon the overall achitectonics, including masterful use of montage. The scenario tells of grim resistance to captivity by members of the Tsarist aristocracy fleeing from a Red Russian brigade that is intent upon bringing about their execution before they can reach Sevastopol, White Russian stronghold along the Crimean coast. The film is interestingly cast, with Alan Mowbray excelling as a patrician refusing to accept hegemony by Communists, and the storyline evolves in engrossing fashion, as twists and turns abound to the very closing moments. True auteur of the film is its cinematographer, Karl Struss, a celebrated still photographer whose work today is frequently exhibited and very collectable. A creative technician of the first order, ever inspired to seek an appropriate aesthetic for each film, Struss here fashions images that are among the most memorable in cinema, his camera's eye a vicarious observer during artistically lighted scenes wherein effects upon tangential characters describe action in this splendid motion picture that has been wrongly relegated into The Memory Hole

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