Feb 16th: “Jack’s Back” (1988)
Celebrating 28 days of underrated 80s cinematic treasures.
When I came to the conclusion that I wasn’t going to include the movie “No Way Out” — because it simply wasn’t very good — I needed a replacement. I have been through the entire decade of movies, and I know there could easily be another 100 out there that could easily qualify. But I need to have seen it, or be able to get the chance to see it. Films like Cutter’s Way almost didn’t make it, and others, like the Coalminer’s Daughter didn’t make the cut because I couldn’t find it (nor was I willing to spend money to see it.) To be frank, I wasn’t going to take the chance unless it was streamable.
I recall seeing Jack’s Back about a year ago, and for the like of me, I knew of the film, but I didn’t place the decade as it being from the 80s. Spader appears a little more older, and the film could easily have crossed over into the 90s. Nor did it have the most memorable of titles, but this movie did have a few ideas when it came to that too.
There is something about James Spader that is fascinating to watch. This film offers two Spaders for the price of one. It’s a wild card, but I’m willing to stake this essay on it being one you will end up seeking. As Spader said famously as Robert California in the series, The Office: “Winners prove me right. Losers prove me wrong.” — Was that a bit harsh?
“DYADIC”
Jack’s back was yet another late addition to this list, replacing No Way Out, which upon rewatching, didn’t give off the same fascination, nor did it hook like it had done when I had first seen it. It hadn’t aged well, nor were the characters compelling enough to warrant affection for what was, a standard thriller with a unlikely twist. I decided instead to switch to Jack’s Back: a completely random selection that has no relevant to the former.
Jack’s Back is a thriller about a modern day Jack-the-Ripper-copycat-killer, who on the 100 anniversary of his first kill, has decided to mark the occasion by replicating — with exact detail — every known murder.
In Jack’s Back, we are given a chance to see not just one James Spader, but two — although not to the on screen extent of Nicholas Cage in Adaptation, or Eddie Murphy in Bowfinger. Spader first plays John, a very caring and compassionate doctor who unwittingly catching “Jack” as he claims yet another victim. After a cat and mouse chase, John finally catches up with the killer. They fight and after a few tense moments, John is killed. The modern day ripper rearranges the scene to make it look like suicide, and once the police connect their dots from the latest crime-scene, they become convinced that John is the notorious killer that they are after.
Elsewhere, Rick awakens during a shocking nightmare in which he is convinced; he had seen what happened to his brother. Not only that; he believes that he knows what the killer looks like, and become determined to find him and clear his identical twin brothers name.
Naturally, all he would have to do was to wait for the real “Jack” to claim yet another victim, but Rick’s conscience serves him otherwise. This is a cat, mouse and mouse thriller that subverts many of the typical criminal norms. We’re not engulfed in a mystery, and much like Columbo had done in the long running television crime caper, we are left with the fascination as to how the killer will simply be brought to justice. That is until we are hit with the twist.
James Spader has had quite a career. He’s not one to bounce off the walls, nor does he ever make a heroic spectacle of himself. His skills reside in the low key. His characters, no matter how troubled or strange, are creations that are layered with readability. Everybody knows who that person is on the big screen. He’s one of us, and yet, he’s like nobody we’ve ever met, or seen before. He sells this film, no matter how we feel about the subject matter.
Many of Spader’s roles tend to be, somewhat ambiguous, unpredictable and in a good way, he’s delightfully forgettable — which is a great way of retaining freshness. His presence on screen never gets old or tired. What happens before Spader or after Spader, is really none of our business. He elevates the material here, and that’s why it’s worth watching. It’s a meddlesome, very watchable, well-paced James-Spader-filled thriller. What more could you ask for?
Jack’s Back was originally going to be called “Red Rain” — with the added intention of having Peter Gabriel’s song of the same name, playing over the opening credits. It makes me wonder if the director who wanted this connection had seen it done well four years previously with Purple Rain (1984). Thankfully, this was a low budget movie and the rights to Red Rain were too much of a stretch. The title was changed to Jack’s Back and there was much rejoicing.
This was Rowdy Harrington’s first writing/directing film credit. He had previously worked as a technician on the set, and a grip. It was quite a standout for a debut assignment in the director’s chair. He would later team up with Spader once again in the films, The Stickup, and I Witness.
Written by: Stephen Radford
Website: stephenradford.com
Instagram: stephen_p_radford
Twitter: StephenPRadford
