The World, the Flesh and the Devil 1959

Ralph Burton, a Black mine inspector, finds himself trapped underground when a collapse seals him in a Pennsylvania coal mine. For days he clings to life as the sound of distant pickaxes fades and the pumps that keep the shaft from flooding fall silent. He digs frantically, clawing his way toward the surface, only to emerge into a world stripped of all people, living or dead. What he discovers above ground comes alive in fragments of discarded newspapers that tell a chilling global story: a devastating radioactive cloud released into the atmosphere by an unknown nation, lethal for five days. The isotopes decay into harmless dust only after that window has closed, leaving humanity erased in an eerie silence.

Refusing to surrender to despair, he heads for New York City in search of any survivors. Back in the city, he begins to restore basic utilities, breathing life back into a ruined building by reactivating power and water. To keep loneliness at bay, he creates companionship from mannequins, a decision that unsettles him as much as it amuses him. When a mannequin is yanked from the edge of the roof by a sudden scream, he discovers a living presence: Sarah Crandall, a White woman in her early twenties who had been secretly watching him from the shadows. Her scream wasn’t a confession of despair but a startled reaction—she thought he had killed himself.

The two become tentative allies, with Ralph’s technical genius and practical know-how gradually improving their apartment buildings’ utilities and their quality of life. Yet even as friendship deepens, the social residue of a racially divided society persists in sharp, tender ways. When Sarah casually declares she is “free, white, and 21,” Ralph calls the phrase “an arrow in my guts” and presses home how out of reach her world feels to him. He also retorts to her suggestion that she move into his building, choosing instead to keep distance, uncertain how she would react if she learned others were still alive. The pair learns to coexist in a shattered metropolis, their shared humanity slowly bridging the line between estrangement and intimacy.

Across the radio waves, Ralph keeps searching for other survivors, and finally a signal comes through in French, confirming that people still exist somewhere beyond their desolate streets. The prospect of connection brightens the horizon, and hope takes a tangible form when a frail but hopeful man named Benson Thacker arrives by boat. Benson, played by the actor responsible for bringing this new dynamic into the story, is ill when he lands, but Ralph and Sarah work to nurse him back to health. Once recovered, Benson’s arrival injects a new tension into the fragile balance between Ralph and Sarah: Benson sees Sarah as a potential partner and begins to view Ralph as a rival who stands in the way of his future.

The three become a wary trio as they navigate the empty city, with Ralph intentionally giving Benson space to win Sarah’s affections. Yet fear and possessiveness give way to a larger question: what does it mean to begin anew when the old social order has fractured so completely? The pursuit escalates into a tense cat-and-mouse through the silent streets as the two men face off, eyeing each other across lifeless avenues. A pivotal moment comes when Ralph, passing by the United Nations headquarters in Ralph Bunche Park, reads an inscription from the Book of Isaiah etched on a wall: “They shall beat their swords into plowshares. And their spears into pruning hooks. Nation shall not lift up sword against nation. Neither shall they learn war any more.” He lays down his rifle and steps into the open, unarmed, a gesture of surrender that momentarily defeats Benson’s resolve.

Sarah appears at the critical juncture, and a powerful, almost ceremonial choice unfolds. She reaches for Ralph’s hand and then pulls him toward her by extending her other hand to Benson as well. In that quiet, decisive moment, the three of them join hands and walk together through the deserted streets toward an uncertain but shared future. The message is clear: even in a world stripped of its old codes, a path toward harmony is possible when fear yields to trust. The film closes not with a final “The End,” but with an emphatic, hopeful proclamation: The Beginning.

They shall beat their swords into plowshares. And their spears into pruning hooks. Nation shall not lift up sword against nation. Neither shall they learn war any more

• The narrative underscores the resilience of human connection in the wake of catastrophe, contrasting the personal struggles of Ralph, Sarah, and Benson with a broader urge to rebuild society from empathy rather than resentment.

• The isolation of a once-bustling city becomes a canvas for introspection about race, belonging, and the cost of living under old social mores when there is no longer a daily census to confirm one’s place in the world.

• Through careful restoration work, fragile companionship, and a dramatic confrontation that yields to a symbolic peace, the story moves from survival to a shared vision of what comes after catastrophe.