Rache aus dem Jenseits

This is a startling movie starring Glynn Turman and Louis Gossett Jr. Here Glynn Turman is the innocent laid-back Ike who is a law student. Then he becomes possessed by a violent fornicating 1940s gangster. This reminds me of a Jekyel and Hyde movie. The setting of the movie is gloomy and the flashback scenes couldn't be any more eerier. The way he slapped around actress Joan Pringle when he (Glynn) was JD seem so real. To me this role fits Glynn Turman because he does it so naturally. If you are in for some suspense and thriller from the old school. This is the movie to check out.

A docile law student (Glynn Turman) is possessed by a 1940s mobster (David McKnight) in mid-1970s New Orleans. The mobster seeks revenge upon the people who killed him and his sister.

There probably are not a lot of blaxploitation-horror-crime films out there. You might get horror-blaxploitation ("Blacula" and "Blackenstein") and you get a lot of blaxploitation-crime, but this is just about the only film that comes to mind mixing all three. So, well done, Arthur Marks.

Marks, for those who do not know, grew up in the world of film. His father worked in Hollywood, and as such, Arthur did the same from the time he could walk. Among many other things, he can be credited with bringing "Perry Mason" to television. For our purposes, though, he must also be credited as a pioneer of blaxploitation. His "Detroit 9000" (1973) was a hit and has been championed by Tarantino, and of course there is "Friday Foster" (1975) starring Pam Grier.

The genre path was continued with this film, and not long after with "Monkey Hustle". First-time writer Jaison Starkes started at a second-rate film school and became friends with George Folsey, who sort of operated a mini-school out of his house. Along with Starkes, Eric Roth was a member of Folsey's circle, and after writing B-movie scripts for twenty years, finally broke into the big time with "Forrest Gump" (1994).

Starkes connected with AIP through Sidney Poitier of all people, and pitched them "Revenge", originally called "The Killing Floor" (a better title). Glynn Turman had just done "Cooley High" for AIP, and Sam Arkoff was impressed enough to hand him another starring role. Arthur Marks was in the middle of a three-picture contract with Arkoff, so it was only natural he would be offered the director's chair.

How George Folsey comes in is sort of a surprise. He already knew Starkes, but actually came in through Marks. Folsey started his editing career with Bernard Schwartz's "Hammer" (1972) and John Landis' "Shlock" (1973). In fact, today he is most associated with Landis, having produced no fewer than 11 films with him. But Folsey also did "Bucktown" (1975), which was produced by Schwartz and directed by Marks, so the transition can clearly be seen there. Folsey did not know his friend Starkes wrote "Revenge" until he received the script while cutting.

AIP had disagreements with both Marks and Folsey; Arkoff wanted exploitation while Marks wanted something more sophisticated. Folsey cut the picture and then AIP made adjustments to eliminate nuance. Ultimately, Starkes believes that 85% of his initial vision is in the final product which is actually uncommonly good.

The Arrow Video release has an incredible, in-depth 45-minute documentary. Whether you like the film or not, it covers the careers and stories of the names attached. There is also an 18-minute standalone audio interview with David McKnight. Trailers for other Arthur Marks films are included, as well as radio spots. Typically an audio commentary would be nice, but the documentary more than covers anything you might want to know.

Glynn Turman plays Isaac "Ike" Hendricks, an amiable law student in New Orleans. One night, in the company of his girl and his friends, he decides to undergo hypnosis, just for the hell of it. However, this enables a restless spirit named J.D. Walker (David McKnight) to possess Ikes' body, all in the name of revenge. J.D. was a lowlife criminal who'd been made to look guilty for a womans' murder back during the WWII era. Now the possessed Ike starts to sound and act like J.D., and indulge in various unsavoury pursuits while going about this mission of vengeance.

A very engaging cast helps to make this watchable. It's never a great film but it is a decent and enjoyable one. Producer / director Arthur Marks injects lots of grisly slaughterhouse imagery into the proceedings, which get fairly bloody and intriguing if never exactly scary. The movie goes a fair distance on the performances by young Turman ("Cooley High", "Gremlins", "John Dies at the End"). Naturally, he does look to be having a fine time when called upon to imitate McKnight in his portrayal of the slick and creepy J.D.

Louis Gossett Jr. is very lively as the reformed criminal turned flamboyant preacher who also figures into the plot. The cute Joan Pringle is a likable leading lady as she plays Ikes' girl Christella. Also fine in support are Carl W. Crudup, Julian Christopher, Fred Pinkard, the stunningly beautiful Alice Jubert, and Earl Billings. McKnight conveys plenty of oily menace as the revenge-crazed spirit. Rhonda Shear and Bob Minor have bit parts.

Worth a look alongside other genre crossovers such as "Abby" and "Dr. Black, Mr. Hyde".

Seven out of 10.

A classy film for those who like personality-disorder flicks. A Law Student (Glynn Turman) participates in a hypnotist show, only to have the soul of a deceased gangster enter his body!

J.D.'s Revenge happens to be one of my personal favorites because you can enjoy it on a campy level as well as a partial horror flick. Also has an early performance by Lou Gosset Jr.

Watch for J.D.'s famous one-liners!

Accomplished, but unspectacular blaxploitation horror with a tremendously ripe lead performance by Glynn Turman in presenting two very different (from placid to extreme) personalities. He plays a genuinely high flying and collected law student Isaac that during a hypnosis session experiences shocking visions and begins to undergo a personality change of a brutally hot-headed and jive-talking 1940's street hustler J.D. Walker. Through flashbacks that erupted in Isacc's mind we learn that J.D was wrongly accused of murder and then killed. Now he's seeking revenge beyond the grave and he's using Isaac to do so.

Director Arthur Macks doesn't generate anything particularly frightening with the flipped-out supernatural current, but works well with the gritty and murky air to cement tough groundwork. There is a ruthlessly razor-sharp vibe throughout, even though the make-up is cheaply done, it's Turman's tour-de-force performance that sells it. Despite a well-rounded story, there are moments in the script that seem to linger and succumb to repetitiveness with a conclusion that feels all too convenient. Robert Prince's unhinged music amusingly experiments with psychedelic sounds from foreboding electronic stings to funky cues. The rest of the performances are efficiently fair with Louis Gossett Jr. and Joan Pringle.