The story of the Black Panthers, particularly that of its Illinois Chairman Fred Hampton, hasn’t been as well-publicized in recent decades as it should. Take this writer for example, a white millennial (admittedly a year or so away from a GEN-Zer) from northern Michigan who was taught all throughout school about the legacy of Dr. Martin Luther King Jr. and his fight for equality, leading to the Civil Rights Act. While not as familiar as Dr. King, leader Malcolm X was also a figure discussed in history classes, but often with framing that he was the “bad” seed between him and Dr. King. Also, the Denzel Washington/Spike Lee film was still somewhat fresh amid the culture at the time. I cannot even recall if I had ever been taught about the Black Panthers until I was in High School, when social media was in its birthing period, and the murder of Trayvon Martin ignited a modern revolution that was impossible to turn away from.
I’m writing this as an example of just how new these stories are to people and how important it is for future generations to receive the knowledge of the assassination of Fred Hampton at the hands of the FBI, and why a film such as this, put out by a major studio like WB, is so important. Especially when it’s a vital, breathtaking piece of cinema such as this.
In his first major studio feature, director Shaka King crafts this incendiary masterwork that seeks to reclaim the narrative of Hampton and the Black Panthers that has been stolen from them for so long. Part historical drama, political thriller and, like its title suggests, biblical tragedy, King swiftly paints the picture of rising tensions amid the late 1960’s. The FBI, under the direction of J. Edgar Hoover (Martin Sheen under some impressive make-up), sets their sights on the Black Panthers, deeming them the number one threat to national security. When slick car thief William O’Neil (Lakeith Stanfield, in possibly his best performance) winds up in the hands of Agent Roy Mitchell (a reliably excellent Jesse Plemons), he’s turned into an FBI informant, tasked with infiltrating Hampton’s division of the Panthers. O’Neil, reluctant but ultimately willing to do the work, is assured by Mitchell that the Panthers and the KKK are “one in the same”, reinforcing that same tired talking point we still hear today. When O’Neil works his way into Hampton’s personal circle, eventually becoming his head of security, we witness the toll it takes on him, while also focusing on Hampton’s personal life.
Shaka King takes a pivotal moment in modern history, and treats it with the complexity and care it rightfully deserves. King, employing inspirations that echo the works of Sidney Lumet and Martin Scorsese, offers an energizing style and presentation of his own. The fluid camerawork — with the help of DP Sean Bobbitt — during a shootout at Panthers headquarters holds a tight grasp of tension that fails to release. In perhaps the most electrifying sequence, showing Hampton giving a fiery, impassioned speech (try not getting swept up in Kaluuya’s ferocious delivery of “I am a revolutionary”), the framing showcases Hampton on his podium preaching to a packed crowd like an actual messiah.
Daniel Kaluuya gives a career-defining performance that is both understated, while expertly portraying the roaring, larger-than-life presence of Fred Hampton. Kaluuya evokes the same magnetism that made Hampton such a compelling force, while giving the role nuance and vulnerability. Among the many elements thoroughly explored is Hampton’s personal life with his partner and the mother of his then-unborn child, Deborah, played with great warmth by Dominique Fishback. As Fred openly proclaims that he’s ready to die in the vein of Malcolm X and Dr. King, Deborah raises the point of wanting a life, a husband not a martyr. An element that feels almost influenced by The Last Temptation of Christ.
Lakeith Stanfield has never been better as William O’Neil, whose torment of betrayal lingers throughout his weighted performance. Stanfield delicately balances the complex nature of O’Neil’s actions and his mindset. On paper, this is not someone to root for, but Stanfield’s rich humanity gives life to the conflicting nature of the character.
Duality is a major thematic focus here, whether it be the opposite sides of morality, to its depiction of William O’Neil who represents a more capitalistic nature opposed to Hampton’s socialist ideals. King, and co-writer Will Berson, expertly explore these dense and intricate themes that permeate far after the film is over. The climax in particular, feels like a natural, haunting crescendo that further highlights the range of talent in filmmaker Shaka King.
Judas and the Black Messiah is a thrilling masterpiece that entertains, provokes and shatters in equal measure. A galvanizing call to arms that succeeds in shining a light into one of modern history’s most pivotal moments. This is a bold and scorching work of art that reclaims a narrative desperately needed right now. Revolutionary, indeed.
Lakeith Stanfield’s performance was the stand out for me. I feel his character was the most and best developed in the script. That may be because the movie is about his character, Bill O’Neal, not Kaluuya’s. I think the movie could have done a better job of explaining and centering the Marxist politics, but, as you point out, it’s a Hollywood dramatic movie and not a documentary. Still the initial “meetings” with the gangs were a touch too dramatically Hollywood for me. I also expected to be in tears and overwhelmed with anger and sadness at the end, but I wasn’t. That’s strange for me since I’m usually a big movie crybaby. I’m still trying to figure out why the movie didn’t move me, but I still think it was a good movie, if only for what it tried to do. It will definitely cause folks to go looking for more history. There are a few good documentaries on PBS and YouTube and a bunch of books about the Black Panthers for anybody interested.
I also wasn’t overwhelmed with sadness or anger at the end as I would be in a traditional biopic, say in Spike Lee’s Malcolm X. I believe this was due to the focus– it wasn’t a Hampton biopic, and what happened at the end with Hampton was happening throughout the whole film with other members of the party. Systematically. One by one they were being taken out and there was no `surprise’ at the end.
Captivating movie, a message as well as a tutorial …
Stark contrast btw fighting for freedom and being labeled a terrorist compared to what happen on January 6th at the nation capital …
So far this film will win a few awards at the Oscars. Best picture, Supporting Actor and Best actor. Great and yet poignant film about the tail end of the Panther Party.
We will see this at the Oscars. This should be the favorite for Best Picture. Daniel Kaluuya deserves an Oscar nomination for his performance as Fred Hampton, and So does Lakeith Stanfield for his performance as William O’ Neil. This is a real breakout for Stanfield, and he’s quietly becoming one of the greatest actors of his generation. This movie will serve as another important record of out history, and I encourage everyone to see it and learn so we can move forward.
I thought it was an excellent film. Stanfield’s performance was strong enough to make me detest him. Kaluuya made a choice, stuck with it, and truly became Fred Hampton. Dominique Fishback was stellar. Great job by all involved.
Best Movie of 2021 so far! Both of those dudes and the director deserve Oscars!
The crux is that society at large, doesn’t understand that film makers have artistic license. for example, in regard to ” there is no difference between the Black Panthers and the KKK”, although it was never said, it will undoubtedly become part of history..
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