Dust Devil backdrop
Dust Devil poster

DUST DEVIL

1992 NA HMDB
July 11, 1992

A woman on the run from her abusive husband encounters a mysterious hitch-hiker.

Cast

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Crew

Production: JoAnne Sellar (Producer)Stephen Woolley (Executive Producer)Nik Powell (Executive Producer)Paul Trijbits (Executive Producer)
Screenplay: Richard Stanley (Writer)
Music: Simon Boswell (Original Music Composer)
Cinematography: Steven Chivers (Director of Photography)

REVIEWS (1)

Emiliano Ranzani
In the Namibian desert, a mysterious hitchhiker roams who kills anyone who gives him a ride; in reality, it is an ancient demon who collects the souls of the desperate to consolidate his power. A black policeman with a troubled past sets out on his trail... Second work by Richard Stanley, this time with a higher budget than "Hardware", his debut film. The first thing that stands out in this film is the director's sure and personal visionary talent, supported by the evocative music of Simon Boswell that recalls (and the effect is not unintentional) the soundtracks of Sergio Leone's films. With evident influences of Argento and Tarkovsky and with a subject very similar to "The Hitcher" by Harmon (despite this film being clearly superior), Stanley tells an epic, unsettling, and dark story - despite taking place almost always under the sun - at the same time. To fully appreciate the work, it is necessary to obtain the very rare Final Cut version that presents the editing wanted by the director himself (the version that normally circulates cuts out about thirty minutes of the film). Among the performers, Zakes Mokae (the Francois Duvalier of "The Serpent and the Rainbow" by Craven) stands out in the role of the policeman Ben Mukorob and Robert Burke (future Robocop in the third chapter of the series) absolutely fantastic in the role of the demon with the icy gaze.
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COMMUNITY REVIEWS (1)

John Chard

John Chard

8 /10

Poetic Brutality.

After a blazing argument with her husband and deciding enough is enough, Wendy Robinson takes off into the African sun. Picking up a hitch-hiker, she finds herself strangely drawn to him, unaware that he is a travelling serial killer. When police detective Ben Mukurob arrives on the scene it becomes apparent that her companion is actually something far worse than a merely a killer, he is a shape shifting demon who steals the souls of his victims.

Richard Stanley's "Dust Devil" has a well documented troubled history. Briefly, Stanley's original cut of 120 minutes was trimmed to 110 and US distributor Miramax held the rights to re-edit an American release if they so wished. Stanley still hoped his longer cut would thrive in Europe, however, Palace Pictures in Britain had a 95 minute cut of the film that was test screened just the once before Palace Pictures went bankrupt. Thus this meant the post-production of a "European" version was shut down and Stanley lost control of the film. With Miramax chopping away in the states it now meant that "Dust Devil" was floating around in cuts that ranged from 110 minutes to a staggeringly pointless 68 minutes. In 1993 Stanley managed to buy back the print and the cut material from Miramax, and using his own money, set about restoring the film to something like his original vision. The result is that now a widely available DVD box set has two cuts of the film to view, The Final Cut and the (rough) Work Print.

With so many versions of the film around over the years, it's hard to gauge what a true weighted rating the picture has. Personally I feel sure that if judged solely on the "Final Cut" version the film would be better regarded and rated far better than some of its internet scores. That's not to say it's a perfect film, for it's not, some problems exist, and the flow of the film, even by Richard Stanley's own admission, is far from fluent these days. However, it's one hell of a fine movie, technically stunning and with a horror story of deep cranial worth. Starring Robert Burke (Devil), Chelsea Field (Wendy) and Zakes Mokae (Ben), "Dust Devil" has three interwoven character plots dovetailing together towards the apocalyptic finale. Along the way we are treated to much dialogue cloaked in haunting mysticism, with dashes of grim horror that assault the senses. It's a pic that begs revisits to truly appreciate the complexity of it, never mind that the visuals alone are worth seeing time and time again. It will remain a divisive film, of that I don't think there is any doubt, yet I would urge any genre fan who hasn't seen it to at least give it a go. You may not be as impressed with it as myself and its many fans are, but one feels you are unlikely to forget having ever seen it. Mesmerising, haunting and even lyrical, it's hoped that the film in its final form will find a more appreciative audience. 9/10

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