El caminante

Paul Naschy's third historical outing proved to be not just the best of the loose trilogy but perhaps his finest work ever, a feat rewarded with a couple of nods at Fantasy Film Festivals. Interestingly, it presents yet another facet to the question of Evil which is so often treated in films boasting a medieval setting: indeed, in THE DEVIL'S POSSESSED (1974), he had been a Satanist; in INQUISITION (1976), an oppressor and – eventually – victim of Devil worship; whereas, here, he is the personification of all that is unholy, since he plays Lucifer himself in human form (his face occasionally taking a red sheen for maximum impact)!

Naschy's script, too, is undoubtedly his most fascinating – as its episodic structure intelligently takes a logical progression. The Devil (disguised as a wanderer) meets with a man who directs him to a nearby house for shelter, but proceeds to kill him instead. Then, he meets a younger man being tormented by his blind master, whom he helps and takes under his wing. Going to the indicated premises, he seduces the crippled woman while her husband is away at work but subsequently denounces, and brands (which scene even became the film's poster), as a whore and robs of her savings. Later on, he goes to another family, where he purports to save a dying girl's life – the price being to share her mother's bed (even getting her pregnant, with the begotten child's fate left hanging in the balance by the film's conclusion and the woman herself a suicide!).

Our 'heroes' next hit upon a caravan – where Naschy plays the idiot to distract the noble couple at its head, while his companion cleverly gets rid of their entourage (by promising gold but leading them into a deadly trap). On to a convent (to which he and his ally turn up dressed in the habits of two friars they had come across and assaulted) where, naturally, superstition and repressed sexuality are rampant – thus easy prey to The Devil's wiles. Here, however, he had counted without the nuns' lusty gardener who gives him a piece of his mind on sensing the threat to his 'territory'! They wake up in a whorehouse, where the two obviously find themselves at home – but this time their ties are irrevocably severed (though not before the young man is allowed glimpses into mankind's less-than-encouraging future via newsreel footage of WWII, the Holocaust and the Atom Bomb!), when Naschy sells his partner to a gay nobleman!!

The boy takes revenge by having the lackeys of his new master (thanks to whom he is finally on his way to Court, and to where he had previously hoped Naschy would lead him) crucify his former companion/tutor – leading to a brief but striking moment where The Devil asks a stone figure of the martyred Christ how could he have given his life for such an ungrateful species as the human race! The film ends with a reversal of its opening sequence: Naschy helping out an apparently weary traveler and being turned upon yet again…only he now opts to show off his omnipotence, and merely – jeeringly – laughs in the face of man's selfishness and greed.

While fully displaying the inherent appeals of this type of film, namely cinematography (by "Euro-Cult" stalwart Alejandro Ulloa, with especially nice candle-lit interiors), production design, costumes and music, the tone here is curiously – yet endearingly – bawdy (with the star himself participating in nude scenes and sarcastically exclaiming "Vade retro, Satanas!" while bedding the convent's Mother Superior). This was actually the style adopted by countless erotic comedies of the "Decameron" variety that emanated from Italy earlier in the decade; a speeded-up orgy, then, clearly bears the influence of Stanley Kubrick's A CLOCKWORK ORANGE (1971).

Incidentally, I had recently come up with a premise in which the coming of the Anti-Christ is treated in Bunuelian, i.e. agnostic, terms – and I knew Naschy's effort would be among those I was required to watch for inspiration! In conclusion, in view of the recent discussion I had with Michael Elliott about the star's work, I ended up acquiring the intriguing sci-fi piece THE PEOPLE WHO OWN THE DARK (1976), which I will be checking out presently...

The walker is undoubtedly a very peculiar and personal film within the filmography of Paul Naschy, Jacinto Molina, as here appears accredited.

And personal because the already mythical actor reflects his obsessions and personal tastes for marginal characters, fantastic elements, metaphysical reflections and eroticism.

Set like another of his best Inquisition films, in the Spanish Golden Age, Naschy shows us the adventures of a despicable and rude vagabond, a traveler whose lack of scruples make him a true devil on earth. Said demon in turn will take a young apprentice who will be responsible for transmitting all their malevolent wisdom while walking the roads of the Castilian lands leaving its sad and sinister wake.

The film has a magnificent rhythm accompanied by a very accurate photograph of Ulloa. Naschy manages to transmit all the force and evil energy that distills his character through the entire film with a more than acceptable performance.

There are also plenty of nudes and risqué scenes so typical of this director, although it must be understood that in that Spain just outside the dictatorship there was a great demand from the public to enjoy female nudes.

It is a deep, unhealthy, coarse and reflective film about human nature, how men create their own hell in paradise and how man and the devil walk together on earth in a circle of endless sin.

Highly recommended

I'm not a massive Paul Naschy fan, he is enthusiastic and has produced numerous and fairly varied films, always on the edge but equally always with limited budgets which sometimes shows more than one would wish. But here's a surprise, one I'd never even heard of and its great! Bawdy, blasphemous, cynical and funny, it is also very well constructed, with decent dialogue and persuasive performances. Basically, our director plays the lead (of course) and represents the devil on earth giving himself a break from his normal duties and getting his hands dirty closer to the action, as you might say. Some scenes are more cruel than others but none of it is very nice, as you might expect, if the very devil himself, is leading the way. Lots of deceived ladies and robbed dignitaries and much fun along the way. Naschy has a glint in his eye throughout and when the most terrible (or best) bits are about to unfold, his face glows devil red. Really! Great entry point for non Naschy fans, an absolute must for existing fans and generally good, bad taste fun for all.

Another review of a Paul Naschy film from me and this time it's a tongue in cheek bawdy historical black comedy where Naschy plays the devil in human form , calls himself Leonardo , takes a young man called Tomas under his wing and shows how humanity can be easily taken in they give way to the sins of lust and greed

That's basically it story wise but to be fair it is relatively amusing and Naschy appears to be having a lot of fun in a type of role I rarely see him in which probably explains why I think it's one of his better performances from an actor who isn't really in danger of being Oscar nominated . That said EL CAMINANTE is very one note and episodic . Leonardo and Tomas arrive at someones dwellings , Leonardo rogers the mistress of the house to within an inch of her life and then it's back to the beaten track for a couple of minutes before arriving at another dwelling to do a bit more rogering . Keep repeating again until the end credits come up . There's not really much more to the plot than that and any subtext there is is all too obvious - don't give in to temptation . There's also a rather haphazard element to the editing which gives the impression some of the film has ended up on the cutting room floor when it shouldn't have but like I said things happen that are relatively amusing in a relatively amusing film

'El Caminante is grimly set in doomy medieval times, and the sublimely talented writer/director Paul Naschy appears to be having a devilish good time playing an itinerant, mesmerisingly mysterious, traveller Leonardo (Paul Naschy). A darkly enigmatic, murderously philosophical rogue, which, unsurprisingly, appears tailor-made for someone with Naschy's bravura, almost preternatural talent for creating fascinatingly larger-than-life villains. His exemplary acting prowess, ably matched by a no less conspicuous talent for compelling, fear-festooned filmmaking!

Observing this perverse pilgrim's progress, it becomes obvious that, Leonardo is a far from righteous individual. His motivations are mercenary, perhaps, even satanic in nature! Along with his young eager-to-please acolyte, the fornicating, exquisitely eerie epicurean finally finds himself stripped of all his nefariously acquired wealth. Retreating to a bordello wherein his lustful propensity for evil percolates to ever more profane levels of ignominy and foul licentiousness! His degeneracy culminating in a grisly, theologically intriguing, blood n' thunder climax that certainly gives the viewer much more to ponder on than the soporific recycled junk of today. 'El Caminante' is arguably one of the more diabolically intriguing occult offerings from the Iberian iconoclast, and remains a must-own title for all avid Naschy fans!