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The Journey (1959) More at IMDbPro »


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George Tabori (screenplay)
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Release Date:
11 February 1959 (Japan) See more »
A British woman trying to escape Hungary with her freedom fighter lover finds herself the obsession of a Communist officer. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Great performances, unusual Hollywood film See more (27 total) »


  (in credits order) (verified as complete)

Deborah Kerr ... Diana Ashmore

Yul Brynner ... Major Surov

Jason Robards ... Paul Kedes (as Jason Robards Jr.)

Robert Morley ... Hugh Deverill

E.G. Marshall ... Harold Rhinelander

Anne Jackson ... Margie Rhinelander

Ron Howard ... Billy Rhinelander (as Ronny Howard)
Flip Mark ... Flip Rhinelander

Kurt Kasznar ... Csepege
David Kossoff ... Simon Avron
Gérard Oury ... Teklel Hafouli
Marie Daëms ... Françoise Hafouli (as Marie Daems)

Anouk Aimée ... Eva
Barbara von Nady ... Borbala (as Barbara Von Nady)
Maurice Sarfati ... Jacques Fabbry
Siegfried Schürenberg ... Von Rachlitz
Maria Urban ... Gisela von Rachlitz

Jerry Fujikawa ... Mitsu
Erica Vaal ... Donatella Calucci
Dimitri Fedotoff ... Lt. Tulpin
Leonid Pylajew ... Capt. Dembinski
Wolf Neuber ... Patko
Michael Szekely ... Bowler Hat
Charles Regnier ... Capt. Ornikidze

Iván Petrovich ... Szabó Bácsi
Ernst Konstantin ... Major Ilyashev
rest of cast listed alphabetically:

Senta Berger ... Serving Girl in Black Scarf (uncredited)
Michael Janisch ... Russian Officer lighting Paul Kedes' cigarette (uncredited)
Fred Roby ... Rosso (uncredited)

Directed by
Anatole Litvak 
Writing credits
George Tabori (screenplay)

Produced by
Anatole Litvak .... producer
Lee Katz .... associate producer (uncredited)
Original Music by
Georges Auric 
Cinematography by
Jack Hildyard (photographed by)
Film Editing by
Dorothy Spencer 
Art Direction by
Isabella Schlichting 
Werner Schlichting 
Makeup Department
Eric Allwright .... makeup artist
David Aylott .... makeup artist
Gordon Bond .... hair stylist
Second Unit Director or Assistant Director
Noël Howard .... second unit director (as Noel Howard)
Gerry O'Hara .... assistant director (as Gerald O'Hara)
Sound Department
John Cox .... sound
Kurt Schwarz .... sound
Camera and Electrical Department
Gerry Fisher .... camera operator (as Gerald Fisher)
Hermann Meroth .... still photographer
John von Kotze .... photographer: second unit
Costume and Wardrobe Department
René Hubert .... costume consultant (as Rene Hubert)
Joan Joseff .... costume jeweller (uncredited)
Editorial Department
Bert Bates .... additional editor (uncredited)
Music Department
Michel Michelet .... composer: incidental music
Michel Michelet .... musical advisor
Other crew
Moura Budberg .... technical advisor
George Daniloff .... technical advisor
Tibor Simanyi .... technical advisor
Carl Szokoll .... assistant to producer
Paul Dickson .... dialogue director (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
126 min
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Australia:PG | Finland:K-16 | Netherlands:14 (orginal rating) | Portugal:M/12 | West Germany:12 (original rating)
Filming Locations:

Did You Know?

According to USA Today (Dec. 9, 2008), this was Ron Howard's screen debut, as well as Jason Robards'.See more »
Crew or equipment visible: In the final scene, as the camera dollies back from Major Surov's jeep, a camera/equipment shadow is visible on the jeep's right front tire.See more »
Paul Kedes:What does an honest man do in a dishonest situation?See more »
Movie Connections:
Referenced in Diner (1982)See more »


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16 out of 19 people found the following review useful.
Great performances, unusual Hollywood film, 17 October 2002
Author: Jugu Abraham ( from Trivandrum, Kerala, India

I have seen several Yul Brynner films--yet this is his best performance as the camera captures his emotions in close up as he snarls, smiles, and laughs. Brynner might have been equally arresting in Ten Commandments, Taras Bulba, The Magnificent Seven, The Brother Karamazov and the Mad Woman of Chaillot but none of these films have captured his range of talent in close ups as in this one. He is arresting and tantalizing to watch in every shot.

Equally fascinating and sexy, without removing her clothes, is Deborah Kerr. The script allows her to exude a sensuality that is not visual but suggestive--she reprised this sort of role years later in The Night of Iguana. The film does not suggest that she slept with anyone to help with the release of the group from the clutches of the Russians in fact she is shown as running away from the Russian Major (in contrast to the Maupassant story or the Isak Denisen story). Yet the film bursts with suggested but real physical allure of the Kerr character.

Kerr can never be classified as a beautiful actress in my view, but she is a superb actress. She puts her soul into dignifying the characters that she portrays, which often clashes with the spirit of the character. It is this contradiction that makes her roles in The journey, Quo Vadis, and The Night of Iguana memorable.

Why is this an unusual film? It is not easy in Hollywood to see Russian characters portrayed as good people--Dr Zhivago was an exception. Brynner's Romance of a Horse Thief was again great cinema by Abraham Polonsky but never acknowledged as such because of the intolerance towards Leftists in the post-McCarthy era.

The film is also unusual in its casting--great French actors Gerard Oury and Anouk Aimee--rub shoulders with Jason Robards Jr and British actor Robert Morley. In many ways the film is international than American. All four are great actors and add to the entertainment.

Those who have read Maupassant and Denisen's works will find the film is not true to either work. Yet the film can stand on its own as its sanitized (censored?) version has a dignified charm of its own--provided by the reality of the night that led to the release of the group. I think Litvak deserves to have the last laugh in providing an interesting and plausible twist to the tales that led to the making of the film, while entwining bits of both written tales (e.g. the last bus ride and the final kiss)

But I do have one grouse--why do Hollywood never acknowledge the sources that inspire the stories? Only recently (e.g., Insomnia) have the original works begun to be mentioned prominently in the credits.

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