J.D.’s Revenge: Arthur Marks

Blaxploitation is one of my favorite guilty cinematic pleasures. I had thought that after several years that I had seen all of the great blaxploitation films. And, at the very least, if I hadn't seen one of them, then I had at least heard of it. But one of the greatest joys a film lover can experience is being proven wrong. Such was the case when I was introduced to Arthur Marks' J.D.'s Revenge. The film, which follows a young black college student in New Orleans named Isaac Hendrix who is possessed by the spirit of J.D. Walker, a hustler from the 40s wrongfully accused of murder, is easily one of the most entertaining and fascinating examples of the genre. Many blaxploitation films suffer from wandering narratives. Who can forget the seemingly endless driving scenes in Gordon Parks, Jr.'s Super Fly (1972)? But J.D.'s Revenge has a tightly focused, well-acted narrative. Glynn Turman's performance as Isaac is truly spectacular. He begins the film as a well-to-do young black man making the way up the social ladder. He plays on his college football team, constantly studies to become a lawyer, and has a healthy relationship with his wife. But as Isaac slowly begins to succumb to the controlling power of Walker's spirit, he begins to transform into the kind of stereotype that many white people held concerning black people. He starts to dress like an old time pimp, begins to order people around with vicious snarls, and attacks those who offend him. He wanders the streets of New Orleans in a daze, sometimes stopping at a church run by Elijah Bliss, a reverend with a belly full of fire and a suspiciously hefty checkbook. It turns out that the good reverend may just have the connections that Walker needs to finally get his eponymous revenge. But can Walker's spirit be avenged and put to rest before he destroys Isaac's life, relationship, and future? Offering a fascinating glimpse into 70s black culture, J.D.'s Revenge is a film that no blaxploitation aficionado should miss.

8/10