The Devil’s Man is a really quite odd — not to mention staggeringly cheap — little Eurospy film from director Paolo Bianchini, the man who spoiled Superargo for everyone with his limp sequel to Superargo vs. Diabolicus, Superargo and the Faceless Giants. It’s one of those Italian genre films in which the actors walk through it as if in a dream, reacting to situations in ways that no human being ever would simply because that is either what the script required of them or because they were given no direction as to what a more sensible course of action might be (ad libbing was obviously outside the pay scale). Remember that scene in Nightmare City where the woman quite improbably stands stock still and screams while a zombie pokes her eye out with a stick just because that was what was required in order to pull off the cheap prosthetic effect? Well, I was going to say that that is representative of the degree of logic informing The Devil’s Man, but, on second thought, that at least makes sense on some level.
Doing a quick survey of Yahoo, Google, and the external reviews linked to from the Internet Movie Database will turn up a body of reviews almost unanimous in their disdain for this movie. Yor, The Hunter from the Future certainly isn’t an unknown movie, but you’d be hard-pressed to find a single person out there, even among aficionados of bad movies, who doesn’t feel that it probably should be an unknown movie. Sometimes it seems like the lone voice in post-apocalyptic wilderness is the guy who writes for www.antoniomargheriti.com, though even the film’s own director has publicly stated that the film is awful. Given that I am apparently one of the two members of the Yor fanclub, it behooves me to write a decent defense and review of this maligned slice of early eighties Italian exploitation.