A call for hope, a unifying statement, a demand for justice and change; “I am a revolutionary” was the oath Fred Hampton proposed to his followers on the day of his prison release in 1969. At the time, Hampton was 20 years old and chairman of the Illinois chapter of the Black Panther Party. The Black Panthers and other anti-racist, civil and human rights organizations like them, were a threat to the American way in the eyes of the authorities. It was Hampton’s bold presence and magnetism that drew in the attention of the FBI, catapulting the deep investigation on him and his Party chapter. The film “Judas and the Black Messiah” is a dramatized reimagining of the historical events that followed the infiltration of the Illinois Black Panther Party, leading to the assassination of Fred Hampton.
The film’s director Shaka King discussed the difficulty of getting a Hollywood approved biopic for Fred Hampton onto screens, explaining to “The Washington Post” that because “Fred Hampton didn’t have the name recognition in Hollywood to get studio executives excited about greenlighting a traditional Fred Hampton biopic, nor were his politics safe enough for them to be comfortable doing so once they did learn who Fred Hampton was. So trying to get a Chairman Fred biopic made in Hollywood, it’s just like: no. It was a joke; it wasn’t even something you should even consider. But steeping it inside a crime drama and really making it an undercover movie and bringing out all of the elements of the genre — just making it a popcorn movie — was brilliant. And also a great way to get your message to people who otherwise wouldn’t be interested in seeing it, wouldn’t show up at the theatre.”
King’s adapted Fred Hampton story stood as more than a “popcorn movie” once it hit screens. “Judas and the Black Messiah” is a tragedy, one that isn’t only relative to the times being portrayed, but also significant to the state of racial civil-unrest currently being endured today. While touching on the story of Chairman Hampton’s time dedicating his life to the commitment of social justice, class-consciousness and black empowerment, we are delivered a story of espionage and betrayal.
The film’s “messiah” Fred Hampton, captivatingly portrayed by Daniel Kaluuya, travels rally to rally preaching his inspired teachings in an effort to evoke unified action towards the fight for social change. It is through these rallies, in hearing Hampton confidently and compellingly discus the steps towards revolution, that the audience is introduced to his sense of urgency, that same concentrated urgency is what instills fear into the FBI. It becomes Federal Agent Roy Mitchell’s, played by Jesse Plemons, responsibility to gather intel on Fred Hampton. Mitchell’s best chance at gaining trusted access to the chairman is through an informant. Young, misdirected and vulnerable, Bill O’Neal, portrayed by LaKeith Stanfield, is arrested for impersonating an officer and attempted car theft. While in custody, O’Neal is given an ultimatum from Mitchell; he either becomes an FBI informant, planted into the Black Panther Party to reveal Hampton’s revolutionary plans, or goes to prison. Without any clear political alliances or beliefs, O’Neal takes the offer. When infiltrated, O’Neal quickly earns trust from Party members and from Hampton himself, becoming his personal guard and the party’s security captain. As Hampton continues on his revolutionary tour, gaining more followers and multiracial allies through his activism, the more of a threat he becomes to authorities. O’Neal’s work becomes valuable to both the Party and the FBI. There is deep conflict presented through his actions; guilt and remorse towards those he believes are doing rightful action on their pursuit for justice, while also feeling he has a duty to uphold by working for an officer he learns to respect. He becomes a central player in a game against “good” and “evil”, though he never fully recognizes which side stands for what, ultimately becoming a pawn used to overthrow the “messiah”.
There is a commonality in the stories two central figures, both of their goals are survival. Bill O’Neal, Judas incarnated, acts to ensure his freedom, to maintain a livelihood, and secure a sense of safety. Fred Hampton lives to enrich the lives of those who the system is exploiting and killing, and will die in his pursuit to secure racial and socio-economic change, to declare a prosperous life for those who the system strips of dignity. Though O’Neal works without any pure alliance other than to himself, he also is attempting to break the cycle which a corrupt system entrapped him in.
In performance, LaKeith Stanfield’s Bill O’Neal and Daniel Kaluuya’s Fred Hampton couldn’t be more different. They contrast each other in almost every way. LaKeith Stanfield’s portrayal of O’Neal shows a naive, ill informed, apprehensive young man layered under a blanket of sorrow and discontent, while Daniel Kaluuya’s Chairman is a confident, highly intelligent, well spoken, force of a man who fills a room with his purpose, even in his silence. Both LaKeith Stanfield and Daniel Kaluuya earned Best Actor in a Supporting Role nominations at this years Oscars.
Beyond focusing on any specific character within the film, what an audience member should take away from the story “Judas and the Black Messiah” is the dishonourable actions conducted by and through the authorities, and how those action disproportionately weigh on the black community and other IPOC peoples. A story that was based on historical events over 50 years ago, that unfolded over the threat of dismantling a racist society and abolishing police, is as relevant today as it was in the 1960’s. The fight for racial equality and social justice is still active, it is important that educational, political pieces remain in the spotlight to push conversation towards action. As said by Fred Hampton “You have to understand that people have to pay the price for peace. If you dare to struggle, you dare to win. If you dare not struggle then damnityou don’t deserve to win. Let me say peace to you if you’re willing to fight for it.”.
Score: B+
© 2021. UniversalCinema Mag.