J.D.’s Revenge Blu-ray Review – Get Possessed by Arrow’s Voodoo Shocker!
Starring Glyn Turman, Joan Pringle, David McKnight, Lous Gossett, Jr.
Directed by Arthur Marks
Distributed by Arrow Video
Despite being a notable cinematic movement for a chunk of the ‘70s, blaxploitation rarely crossed over into the horror genre – and when it did the results were often mixed. For every Blacula (1972) there was a Blackenstein (1973) – and, really, the list nearly stops there. One shocker that doesn’t resort to using any marquee-value gimmicks is J.D.’s Revenge (1976), a semi-voodoo tale of reincarnation and revenge. Set in and around New Orleans, the film is notable for its location and themes, with a powerfully fierce dual performance by leading man Glyn Turman (you know, the teacher in “Gremlins” (1984) who left his sandwich too close to the cage). It’s surprising more blaxploitation films didn’t employ voodoo, given its use in many black cultures around the globe. J.D.’s Revenge isn’t as explicit or traditional in its use of voodoo – don’t expect to see magic potions and gris-gris bags – but given the setting and story it is clear these elements are in play. The film is a double winner in that it satisfies fans of both horror and blaxploitation, and it is a rarity in both genres because of the unique subject matter.
Ike (Glyn Turman) is a law student who divides his time between school, the athletic field, and working as a cab driver in New Orleans. He is devoted to his loving wife, Christella (Joan Pringle), who fully supports her hard working man. One night, while out with Christella and her friends, Ike is hypnotized at a nightclub, causing him to experience visions of a murder and animals being butchered in a slaughterhouse. Dazed and shocked, Ike comes to unaware he is now possessed by the vengeful spirit of J.D. Walker (David McKnight), a hustler who was gunned down in the ‘40s. Ike attempts to go about his normal life but the spirit of J.D. begins to poke through; subtly at first, affecting his style of dress, then not-so-subtly, like when he decides to beat Christella. Ike is essentially blacked out during these episodes, but his actions are seen as his own by others and it’s beginning to cause major problems.
Christella goes to see her ex-husband, a cop who wants to put a permanent stop to Ike/J.D.’s behavior, but she refuses to believe her man has gone so cold. J.D. was never a good man but he is convinced he was done wrong all those decades ago, placing the blame for he and his sister Betty Jo’s (Alice Jubert) murder on the shoulders of Theotis Bliss (Fred Pinkard) and his brother, Elijah (Louis Gossett, Jr.), a local preacher. Ike/J.D. stalks and harasses the men, teasing them with the truth of who he really is, and this only way this is gonna end is when at least one of them is dead.
Glyn Turman deserves all the credit for this film working as well as it does. As Ike, he comes off as affable and logical, the sort of man with goals and dreams that can attract any woman. As J.D., he’s a slick prick with a short fuse, always ready with a foul mouth and a half-cocked backhand. Turman not only nails both roles perfectly, but his ability to segue in and out of a character during a scene is particularly impressive. It truly feels like watching two different people on the screen. Credit is also due to McKnight as J.D. because, man, does that guy ever look like the sort of stone cold pimp you do not want to meet in a dark alley. It’s the scar that does it, really, but being a nasty shitbag helps, too.
The film remains ambiguous as to the “why” of it all. There is no particular reason why it was Ike who got possessed on stage that night and not one of the half-dozen others around him. Further, J.D. does not come across as the kind of man who would have any patience or belief in voodoo. The answers to these questions are not important, and the film is stronger for not shoehorning in some contrived reasoning. J.D., despite being a bad hombre, most definitely died in a violent and “wrong” way, so viewers can assume the old cinematic adage of “a spirit cannot rest until it handles unresolved business” rings true. As for why Ike, well, the kid is in great shape and had everything going for him. Let’s just call it wrong place at the wrong time.
Issues affecting the black community are dealt with, too, such as J.D./Ike’s mistreatment of his woman and the lengths which she goes to protect him despite his bad deeds. Even turning to her former cop ex, who clearly understands the pattern of abuse, yields no movement because Christella does whatever she can to cover up for her man. The acceptance of casual violence in a relationship is an issue black films have dealt with for decades and, sadly, the messages being sent don’t seem to have much of an effect.
Horror fans looking for something a little different would be wise to give J.D.’s Revenge a spin. Voodoo is so underutilized in cinema and this is a rare picture that satisfies fans of both horror and the funkadelic aesthetic of the ‘70s blaxploitation scene. After spending years unreleased on VHS, the film finally got a DVD release as part of MGM’s awesome Soul Cinema line. Now, Arrow Video has finally delivered it in a presentation nearly matching the theatrical release it received over 40 years ago.
Sourced from a new 2K scan, the 1.85:1 1080p image is a marked upgrade over the old DVD, though viewers shouldn’t expect this one to look very polished. The look of the film is flat, with workmanlike cinematography and very little in the way of visual flourishes. Many scenes are soft; this is fully intentional with the flashbacks but softness in “present day” is likely due to poor focus pulling. Film grain is thick but not necessarily noisy, adding a nice “grindhouse” look to the image. Black levels are a touch hazy. Arrow is known for doing the best possible job with their restorations, leaving any deficiencies as the likely result of source-inherent problems.
Audio is present in the form of an English LPCM 1.0 mono track. There are no noticeable issues with this minimally-scored, dialogue-driven soundtrack. Hissing and pops have been removed, leaving a clear soundfield for the dialogue and effects. Subtitles are available in English SDH.
The big bonus here is “The Killing Floor”, a 46-minute retrospective piece featuring interviews with Turman, director Arthur Marks, editor George Folsey, Jr., and screenwriter Jaison Starkes. All of the participants have some stellar anecdotes about making the film.
“Here Lies J.D. Walker” is an audio interview with McKnight, recently conducted from the sound of it.
A still gallery with over 60 images, theatrical trailer, and radio spots are also included. Furthermore, the disc also has nearly a half-dozen trailers for other films by Arthur Marks. As with most Arrow Video titles, the cover art is reversible and there is a thick, informative booklet included within the package.
Special Features:
- Brand new 2K restoration from original film elements, produced by Arrow Films exclusively for this release
- High Definition Blu-ray (1080p) presentation
- Original 1.0 mono sound
- Optional English subtitles for the deaf and hard-of-hearing
- Brand new interview with producer-director Arthur Marks
- More interviews to be announced!
- Original theatrical trailer
- Arthur Marks trailer reel
- Reversible sleeve featuring original and newly commissioned artwork by Sean Phillips
- FIRST PRESSING ONLY: Collector’s booklet containing new writing by Kim Newman, author of Nightmare Movies
- Alternate Opening Titles
- Trailers
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J.D.'s Revenge
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Special Features
Summary
Arrow Video has breathed new life into this underrated voodoo thriller, delivering the goods with a commendable picture restoration and bonus features chock full of interesting anecdotes and production history.
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