Abby

Abby is a 1974 horror film with elements of blaxploitation, blending in African and Christian mythology to form a unique narrative that transcends the traditional horror genre. The film is helmed by director William Girdler and features an enthralling ensemble of actors including Carol Speed, William Marshall, and Terry Carter. The narrative revolves around an African American woman, Abby, played skillfully by Carol Speed, who finds herself embroiled in a demonic possession that takes a toll not only on her life but also affects those close to her deeply.

Set in Louisville, Kentucky, Abby is introduced as a devoted wife to the Reverend Emmett Williams (Terry Carter), focusing her efforts on working for their community church. Her theological passions become compromised when she mysteriously becomes possessed by a demon, in an inexplicable chain of events stemming from the other side of the world.

This unrelated event involves Abby’s father-in-law, whose character is portrayed by William Marshall as the scholarly Bishop Garnet Williams. While in Nigeria, Bishop Williams discovers a peculiar artifact which, unbeknownst to him, contains the trapped spirit of Eshu, a mischievous Yoruba Orisha (or deity) of chaos and whirlwinds. When released, the spirit travels all the way from Nigeria to possess Abby, setting off a chain of horrifying and chaotic events.

As the seemingly benevolent Abby begins to manifest disturbing behavior, her family and church community are left stunned and injured, unable to reconcile with the malicious changes in her. Abby develops an eerie second voice, exudes lethal physical strength, and displays an unnerving shift in personality. Despite her bone-chilling transformation, the iconography of her plight adds a unique cultural texture to the film that sets it apart from conventional western demonic lore.

The narrative deepens when the Bishop returns from Nigeria, finding his beloved Abby in a monstrous state. Marshall's indomitable character Bishop Williams, well-versed in anthropological semiotics and exorcism, realizes the gravity of his daughter-in-law's possession. With his theological prowess, he must now combat the malicious Yoruba spirit, thus setting off a nerve-wracking standoff between faith and folklore.

Even though Abby has been dubbed by some as the blaxploitation answer to the chills and thrills of The Exorcist, it presents its unique voice and cultural representations. The film integrates African theology and spiritual beliefs, a rare feat expertly handled by Girdler and the cast. Its essence lies in the exploration of African American cultural and religious identity, set against the backdrop of a horror narrative that dismantles normalcy and shakes the essence of faith.

The performances of the cast are significant, with Carol Speed's portrayal of Abby deserving a special mention. Her vivid depiction of Abby’s transformation from a sweet, caring woman to a demon-possessed shell of her previous self offers both horror and heart. Seeing Abby wade through her violent change becomes both an observer's horror and her individual struggle, which Speed captures flawlessly.

Terry Carter and William Marshall also give commendable performances. Carter portrays an anguished Reverend Emmett, whose devotion to his wife and faith becomes his source of courage. Marshall's portrayal of Bishop Garnet Williams stands out with an impeccable air of solemn wisdom and brave determination, critical to the narrative's foundation.

Cinematographically, the film successfully creates an atmosphere of the uncanny through well-placed scares, clever lighting, and a haunting score. It artfully uses horror elements while not losing sight of the human and religious drama at its core.

Abby is much more than a simple demonic possession flick. It merges African mythology, Christian theology, and horror genre elements to provide a culturally distinct experience that stands as a bold testimony of genre-blending within 70s blaxploitation cinema. For those interested in unique explorations of horror, Abby is a captivating portrayal of faith, possession, and redemption.