Spader as Rick is
detached, cool, and seems preternatural, knowing more than the cops
investigating the murder of his brother. He claims to share a mental bond with
his good brother. At every opportunity, he is shirtless (i.e.: wakes from a
nightmare, sweat-drenched), or lies in bed, displaying bulging underwear (Editor's Note: Bugle
Boys? It was the 1980’s and the brand was running a campaign). Various artful
posing shots abound of Spader looking sexy and cool. He smokes and drives a
lot, looking detached and cool. Ah - the 1980's obsession with looking cool. Still,
it’s a fun film, even if the director insists the characters look cool, even
racing down a staircase.
The supporting actors do
an admirable job of exhibiting sexism (beat cops), anger management (black
police chief), comic relief, and dejection (the latter tasks fall to the black
co-worker, pulling double duty). Spader's co-worker's are also sexually
charged and either openly flirtatious, suggestive or lascivious or breathless around
him. The male, effete, hypnotist Dr. Carlos Battera on the case drools over Rick with obvious attraction (and the director Rowdy Herrington too, perhaps?). Naughty, both, then.
The musical score by
composer Danny Di Paola is brooding, simmering, with pop music undercurrents
that echo Miami vice and other crime fare of the era. Some shots remind one of
"To Live and Die in L.A.", another flawed masterpiece of note. But “Jack’s
Back” is must-view for James Spader completists. It’s a fascinating and mixed 1980’s
serial-killer flick, praised at the time by Roger Ebert. “Jack’s Back” is like
a moving fashion magazine layout for young and hot Spader.
Thanks go to friend Helen for recommending.
Thanks go to friend Helen for recommending.
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