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Streaming Dust Devil: The Final Cut Online. Movie Title: Dust Devil: The Final Cut Average customer review: Dust Devil: The Final Cut is available for streaming or downloading. Click Here to Stream or Download Dust Devil: The Final Cut

Drawing inspiration from the record of Nhadeip–which grew out of the unsolved blood ritual murders that took position in Bethany, Namibia, in the early 1980’s–South African-born director Richard Stanley has created a strangely sparkling, haunting and highly atmospheric alarm memoir. According to African folklore, a “Num” is a Dust Devil or shape-shifting demon who is drawn to suffering and self-destructive souls unconsciously seeking release from the afflict of their lives. The demon is basically a sorcerer, trapped in the physical world, where he occupies the body of a human host. By tracking his prey and dismembering them in the “ritual ecstasy of abolish,” he accumulates the power to enable his return to the spirit world. Robert Burke plays a beautiful and enigmatic hitchhiker who is the physical incarnation of such a creature.

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The film primarily revolves around the Dust Devil and three other characters: Wendy Robinson (Chelsea Fields) is a gloomy and suicidal Johannesburg housewife on the race from her abusive husband. Ben Mukurob (Zakes Mokae) is the police officer who is tracking what appears to be a grisly serial killer. Mukurob is hampered in his investigations by both a dismal personal history and a natural resistance to believing the murders are connected to the supernatural world. John Matshikiza rounds out the share as “Joe Niemand,” a shaman who is aware of what is really committing the murders and who is trying to attend Mukurob in stopping the Dust Devil.

The Namibian Desert–with its desolate scrubland and the enormous emptiness of its endless sand dunes–is the perfect backdrop for a legend rooted in mysticism–where the local population has one foot in the postcolonial, unique world and the other rooted in tribal culture and understanding.

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There is a languid pacing to the film. A voiceover fable, provided by Joe Niemand at the beginning and slay of the film, supplies many of the details and back-story that would not be apparent otherwise. The dreams and memories of the characters sometime bleed over into their waking status, and the audience is frequently pulled into a half-twilight world where reality and memory are interchangeable.

Sadly, Richard Stanley’s feature film career has been beset by problems. His first film “Hardware” suffered from unfair comparisons with “The Terminator.” Civil war erupted in South Africa during the filming of “Dust Devil” and postproduction distributorship troubles left a chopped up version of the movie–with only scattershot and straight-to-video release. Creative differences left Stanley unemployed only a few days into his third movie “The Island of Doctor Moreau,” followed by the bizarre rumors of Stanley returning to the film status in disguise. I am joyful that Stanley did not let these obstacles and setbacks completely defeat him, and I eagerly await the next film from this talented and intelligent filmmaker.

This is a visually fair film. I watched it expecting a dismay movie but ended up enthralled by its sheer visual splendour; both in its blooming photography and its breathtaking landscape. As a dismay film, I doubt if it would attract the mass of today’s fear fans. It’s definite why the studio quietly dumped it onto video without a theatrical release. It would not have sold as a panic movie. There are not enough shocks, gore or scare to satiate today’s audience. The predominant feeling I got was not so considerable of fright, but of despair, desolation and spiritual isolation, made all the more stark when station amidst all that beauty. I would agree with director Richard Stanley, when he says that it is closer to an “art film” than a dismay movie.

Stanley grew up in South Africa and learned the folklore of the natives at the feet of his mother, an anthropologist who mild stories and folktales of the African tribes. This narrative revolves around a shape-shifting spirit, variously called a Soupwah, a Num or in Afrikaans, a Nagtloper (literally Night-Runner) . The Nagtloper (Robert John Burke) feeds off the life-force of the damned - people who have lost the will to live. Into his orbit float two lost souls, Wendy (Chelsea Field) a South African woman fleeing from a failed marriage and Ben Mukurob (Zakes Mokae), a Zulu policeman whose life came to an waste years ago with the death of his wife. Who will do deliverance? The white woman, the dusky policeman or the Nagtloper, whose acquire aim is to return to the spirit world from where it came. The desolate emptiness of the Namib is beautifully captured. Scenes are exquisitely choreographed, almost like a ballet. I don’t know if I would recommend it to the usual fear film fan, but it is definitely one for cinephiles. The DVD is superbly produced with crystal distinct image quality, no dirt, no injure and with exceptionally proper sound. It is presented in its fresh 1.85:1 widescreen. Strangely there are no subtitles. The main feature is anamorphic (enhanced for widescreen TV) as are all of Stanley’s interview segments. Sadly none of the other Extras are anamorphic. Even the workprint is letterboxed.

This Special Edition comes with a host of Extras spread over 5 discs. Personally I felt that devoting an entire disc to the “Workprint” was overkill. But I’m not complaining. You can survey the workprint in its entirety or objective consume the 46 chapter-stops to salvage directly to the various deleted segments, which are sadly all taken from a VHS source; some having no sound, some looking really abominable, and most having the video-counter running above or below the print. I would recommend the workprint only to ardent admirers of the Final Chop. The other Extras have nothing to do with the main film itself but are Stanley’s TV documentaries on other subjects. Nonetheless, they are definitely worth viewing.

The most colossal Extra is “The Secret Glory of SS Obersturmfuhrer Otto Rahn” made for Britain’s Channel Four TV. This is a 97min documentary on the life of the Nazi poet and writer Otto Rahn who was obsessed with the search for the “Holy Grail”. This is not the Grail of Christ which we usually associate with the legendary quest but a more obscure “Grail” supposedly made from the crown of Lucifer, variously described as a stone, a gem or a diadem. Stanley contends that Rahn and the Nazis did accept the Grail in southern France but gives no source for his claim. To be handsome, the documentary is not about the search for the Grail itself but is an chronicle of Rahn’s tragic life. The shadowy irony of his life is that this Nazi stalwart, who wrote so many vile tracts condemning the Jews, was in the extinguish, himself revealed to be a Jew. The documentary is very dense, and expects the viewer to be fully conversant with Grail account, 13th Century Crusader history (specifically of the Albigensian or Cathar Crusade) and German history circa WWII. Like Rahn, Stanley doesn’t earn certain when he conflates fact and fiction. The Lucifer Grail is referred to in Wolfram von Eschenbach’s medieval poem Parzival (the source of Wagner’s Parsifal) . This is by almost all accounts an invention based on the ragged Arthurian legends. Rahn ties that in to historical fact by assuming that the Grail mountain, the fictional Montsalvat of the poem, is the same as Montsegur, the last retreat of the Cathars in southern France. The Cathars were Gnostic Christians, declared heretics by the Vatican, which sent in Crusaders to annihilate them in what became known as the Albigensian Crusade. The hilltop fortress of Montsegur was where the Cathars made their last stand. At Montsegur Rahn searches and apparently finds the Grail he is looking for. In fact, the Cathars never claimed to acquire the Holy Grail. The documentary is packed with so remarkable information, both historical fact and literary fantasy, that it requires more than one viewing for pudgy assimilation and it is not easy to sit through. Narrate quality is mediocre but tolerable for a documentary extra. It is in 1.85:1 widescreen, letterboxed into a 4×3 fullframe. Sound quality is very dreadful. Dialogue is recorded at fluctuating volume levels, is frequently inaudible and in many instances drowned out by extremely boomy bass. Worse, the sound and recount for the interviews are never in sync. The film’s temp-track sounds poor (like a abominable B-grade alarm flick) but the accompanying Wagnerian music is huge and transcendent. The exerpts approach from Wagner’s Parsifal and Tannhauser. The documentary interviews are in equal parts German, French and English. The entire documentary comes with obligatory English subtitles. To be sparkling, Stanley admits that this is unprejudiced a preview of a work in progress which he hopes to release in pleasant accomplish one day.

My favourite of the documentaries is the 36min long “Drawl of the Moon”. It is a visual relate of Stanley’s visit to Afghanistan towards the destroy of the Soviet occupation (1989) . As Stanley points out in the interview, it is more akin to poetry than a documentary; a visual tone-poem if you will. The sparse narration, in verse perform, occurs only at the beginning and raze and is given wholly in Pashto (Pashtun language) . English subtitles are burnt onto the print. This was made for Britain’s BSB channel. As a passe apt documentary it falls flat, but as a visual poem it is radiant. And this is evident despite the bad quality of the 16mm film footage. It was shot on a mechanical (spring driven/hand-cranked) Bolex camera, with no sync-audio. The reason was because they were travelling with the mujahideen and shooting for months in places where there was no electricity; mostly around the Afghan/Pakistan border plot in the majestic Hindu Kush mountains. Stanley’s 1/2-hour long interview accompanying this film is a must-see. He describes the Afghan expedition, his meetings with the Afghan mujahideen, his deep admiration for them and his sadness at seeing them bombed into oblivion post-9/11. The film itself ends with the mujahideen victorious in the final battle for Jalalabad. The music come by is lyrical and evocative and is easily the loveliest regain written by Simon Boswell on these discs. It is inspired by Eastern European folk music (not native Afghan music) and the documentary also features the Trio Bulgarka singing “Oi Yano Yanke” from their “The Forest is Crying” album.

“The White Darkness” is a documentary Stanley made for the BBC as fragment of a series on world religions. Its focus is on the practise of Voodoo on the island of Haiti. Coincidentally, while the documentary was being shot, America invaded the island. The documentary ends up being an examination of Voodoo practise on the one hand, and a characterize of the American invasion on the other. Thanks to a particularly depraved US Army Colonel, it also becomes a yarn about apt American Evangelical Christianity coming in to trounce the devil-worshipping heathens of the island. The Colonel is so boastfully arrogant and self-righteous that one could only vow with relief to learn that he was eventually “removed from grunt”. Visually this film looks the best of the three and is presented in its unique 1.33:1 fullscreen with noble audio quality. Most of the documentary is in English with the French and Creole segments suitably subtitled. It also comes with a 17min long interview where, amongst other things, Stanley describes the American invasion and the surreal image of US Marines and “Armed Baptists” coming to evangelise the heathens.

The last disc of this 5-disc dwelling is an audio-CD containing the soundtrack of “Dust Devil”. I wish they had included the soundtrack of “Express of the Moon” as well. It is probably the best thing Simon Boswell has written. The dwelling is accompanied by three separate 12-page booklets, the first being a very detailed and informative production diary on “Dust Devil”, the second containing equally detailed discussions on the 3 documentaries, and the third being a comic-book version of the film. The “Dust Devil” feature alone is worth the asking ticket for this release. Coupled with all the extras, this DVD is self-recommending.

Note: As we are reminded on every disc here, Richard Stanley is the Great-Grandson of the legendary explorer and adventurer, Sir Henry Stanley, who gave his name to the Stanley Falls (now Boyoma Falls, DRC), and the city of Stanleyville (prove day Kisangani, DRC), searched for and rescued his even more distinguished fellow-explorer, David Livingston and is credited with the iconic line, “Dr. Livingston, I presume? “
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