DIRECTOR: JESS FRANCO | SCREENPLAY: JULIÁN ESTEBAN, JESS FRANCO | STARRING: URSULA BUCHFELLNER, AL CLIVER, ANTONIO MAYANS | RELEASE DATE: APRIL 8TH
Devil Hunter was one of a small number of the remarkable Jess’ Franco’s incredible amount of films to make the infamous ‘video nasties’ list. It’s not one of his most idiosyncratic films, really more another entry in the huge catalogue of Euro-splatter features coming out at the time. It’s also vaguely part-cannibal film, again popular at the time, although Franco himself also made a more straight-ahead gut-munching movie that same year with Mondo Cannibale. Instead it’s a mishmash of styles, from jungle adventure to sort-of-zombie film, along with the strong elements of sexploitation that Franco was notorious for.
It begins with a model-slash-actress getting kidnapped, after which she is taken to a remote island while her captors wait for the ransom they have demanded. Mercenary Peter (Al Cliver) is hired to take the ransom to make the exchange but also instructed a sizeable percentage of the money is his if he can bring both the girl and the cash back. Meanwhile, on the island, the kidnappers start to run afoul of the local tribe and the naked, bloodshot and bug-eyed ‘god’ they worship. Peter realises his mission is going to be even more dangerous than he had imagined.
Although not a passion project for Franco, it’s inevitable his very personal approach still informs the film. From lingering shots of nature through to crash zooms, there’s still plenty of personality in here. Devil Hunter is of its time too, from the gloopy gore effects to the mix of sex and violence, plus copious nudity. As with many Franco pictures it’s an odd stew and one that will appeal most to his admirers, more willing are we to forgive the slapdashery and treat sequences like Cliver’s rock-climb as an example of Franco’s ambition and furtive creativity, instead of carelessness or haste. As a film, file this under ‘completists only’.
If you do appreciate the man’s output and want to subject yourself to it, however, this is definitely a recommended release. Shot in bright sunlight, the picture here is mostly gorgeous for what was a low budget film, showing everything good and bad in high definition. As far as extras there’s only one, but it’s very good. Gathering the likes of critics John Martin and Rachael Nisbet amongst others (including our own Martin Unsworth), it’s a near 50-minute analysis of Franco’s career from his gothic horror beginnings to his still-prolific later years. Huge fun it is too as the contributors wrestle with the appeal of Franco at both his best and his worst.
