J.D.'s Revenge

Unlike a number of other 1970s blaxploiation movies, the story of "J.D.'s Revenge" is a more universal one at its core; with virtually no rewriting, the characters could have been played by actors of any color. The predominantly black cast does a very professional job, especially Lou Gossett and Glynn Turman. And director Arthur Marks does add a little style and atmosphere here and there. However, the screenplay does have some big flaws. I would have liked a better explanation as to how the spirit of J.D. is resurrected, for example. But the biggest problem with the screenplay is that it unfolds extremely slowly. It takes forever for J.D. to start his quest for revenge, and when he does, it unfolds even more slowly. Things might have been better had there been more people responsible for J.D.'s death years earlier, which would have given the filmmakers the opportunity to pile up the body count at a regular pace. Despite problems such as these, this is far from the worst blaxploitation movie made... but it's also some distance from the best the genre has to offer.

In 1942 New Orleans gangster J.D. Walker (David McKnight) is shot to death by Elija Bliss (Lou Gossett). It is believed that he killed his wife (he didn't). Cut to 1976. Mild mannered young law student Ike (Glynn Turman) is possessed by the spirit of J.D. He immediately becomes cruel and vicious and treating his beautiful girl friend Christella (Joan Pringle) like dirt. Then he realizes his ex rival Elija is still alive as a preacher and J.D. sets out to get his revenge.

I've wanted to see this since it came out in 1976. I was 14 then and a newspaper ad showed a drawing of a gravestone and a pretty young woman lying dead in front of it with a look of horror on her face (needless to say nothing like that appears in the film). But the film only played one week and quickly disappeared--but I've never forgotten that drawing. I'm glad I finally got the chance to see it. It's not a great film but it's an interesting psychological horror film more than a blood and guts one. There's only one bloody attack scene and a shot of a dead animal being cut open (which was repeated at least 8 times).

This concentrates more on Ike being possessed and trying to fight back. It's a hard role but Turman pulls it off. The only part where he goes too far is at the end when J.D. takes complete control and Turman REALLY overdoes it. It's also kind of fun seeing Gossett (REALLY chewing the scenery) as a preacher. His speeches at church are energetic (to say the least) and a highlight. The only thing that bothers me here is the disgusting misogynistic attitude. There's a truly sick scene where Turman viciously tries to rape Pringle. The only other female roles are TWO cheating wives who eagerly jump into bed with other men and Bliss's daughter who seduces Ike (J.D.) almost immediately. Also Ike has a friend who talks about women like they should be beaten up and controlled. This attitude permeates the film and makes it a chore sometimes to watch. Still this is a somewhat interesting reincarnation movie. I give it a 7.

Found half-hidden in the back of my local video store, the cheesy packaging made it look like a tongue in cheek blaxploitation horror movie good for a few laughs. But the packaging misled, this is a surprisingly serious and effective supernatural revenge thriller. Nice guy cabbie/law student Ike (Glynn Turman - 'Cooley High') becomes possessed by nasty Forties pimp J.D. Walker (David McKnight). Ike/J.D. is intent on avenging the murder of his sister. Local Preacher Reverend Bliss (b-grade favourite Lou Gossett Jr.) is somehow involved.

Not a great movie, but a good one, and worth watching for Turman's excellent double turn if nothing else. This movie deserves to be better known.

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!

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.