“Judas and the Black Messiah,” the bio-pic about Fred Hampton, head of the Black Panthers in Illinois in the sixties, comes to us from a dynamic team. Director Shaka King (“Newlyweeds”) had met Ryan Coogler (“Black Panther”) in 2013 at Sundance. Coogler (“Black Panther”) approached Warner Brothers with 50% of the film’s financing in hand to back the picture, directed by Shaka King (“Newlyweeds”) from a story by the Lucas Brothers. They already had the cast in mind and Shaka King had connected with screenwriter Will Berson, who had been researching Hampton for some time. After some major difficulty getting to Jesse Plemons (whose agent did not return calls)—the package came together. Judas and the Black Messiah premiered at Sundance on Monday, February 1st. It will stream on HBO Max beginning February 12th.
The film is bound to earn its two leads Oscar nominations; the film itself will be a strong contender in these Black Lives Matter-influenced times for a Best Picture nomination. As the log-line for the film says, “The story of Fred Hampton, Chairman of the Illinois Black Panther Party, and his fateful betrayal by FBI informant William O’Neal.”
Daniel Kaluuya (“Get Out”) plays Fred Hampton, (the Black Messiah of the title), and Lakeith Stanfield (“Selma,” “Straight Outta’ Compton”) is William O’Neal, the Judas figure who infiltrated the Chicago Black Panthers at the request of FBI agent Roy Mitchell (Jesse Plemons).
We follow the action through William O’Neal’s eyes, a small-time petty criminal caught impersonating an FBI officer in order to steal a car. William O’Neal was 17 when he stole the car and drove it across state lines into Michigan. Since car theft carries an 18 month sentence and impersonating a federal officer would earn him a 5 year sentence, the Judas figure in the film’s title is offered the opportunity to infiltrate the Black Panthers rather than go to jail. O’Neal doesn’t forsee that he will be asked to drug Fred Hampton (secobarbital) so that state-sponsored murder can take place in a hit executed by 14 Chicago police at 2337 West Monroe Street at 4:45 a.m. on December 4, 1969.
Martin Sheen plays an almost unrecognizable J. Edgar Hoover. A secret group within the FBI called Cointelpro is responsible for the hit on Fred Hampton’s residence that is authorized by Hoover. Hampton, his 9-months pregnant girlfriend (well played by Dominque Fishback) and several other Black Panthers were there, sleeping overnight. Two were killed in cold blood: Mark Kelly, who was the security guard for the night, and Hampton, who survived the initial assault only to be executed with 2 shots to the head. The Panthers fired only one shot, into the ceiling, when Mark Kelly’s shotgun discharged as he was shot through the door. The police shot 99 times.
A lawsuit lodged in 1970 dragged on for 18 months, but finally delivered a judgment of $1.85 million in 1982. When the foursome behind the film (the Lucas brothers, Ryan Coogler and Shaka King) pitched the film, they compared it to “The Departed” within Cointel.
The acting by both leads should earn Kahluua and Stanfield Oscar nods. If you watch this at home, you might want to turn on captioning, in order to know what, exactly, Daniel Kahluua is saying. YouTube videos support Hampton’s cadence, rough articulation and fast pace as authentic to the man, himself, but it’s still hard to understand. Stanfield’s William O’Neal is better able to be understood. Both actors are somewhat older than the ages they are asked to portray, with Kahluua, at 31, playing the 21-year-old Hampton. (Stanfield is 29).
Accolades are deserved for both of the film’s leads. For me, the William O’Neal character is the more interesting, portrayed by Lakeith Stanfield as a bundle of contradictions. He seems conflicted about his role from the very beginning. As the plot thickens and he is asked to do even more for the FBI, he seems to have been drawn into a no-win situation that tortured him to the point that, after his one and only television interview about the events of that night, on January 15, 1990, he committed suicide. O’Neal’s words from the “Eyes on the Prize 2” documentary footage were, “I was part of the struggle. At least I had a point of view. I’ll let history speak for me.”
The film portrays O’Neal’s descent into even greater betrayal(s) extremely well, even through the costuming. When O’Neal meets Jesse Plemons for dinner at a fancy steakhouse late in the film (away from the Black Panthers) he is attired in a very fly white suit. Agent Mitchell shoves an envelope with cash in it towards O’Neal, possibly the $300 in extra pay that O’Neal received for special service to the FBI. But when O’Neal depicts a Black Panther early in the film, with leather jacket and beret, he really seems to empathize with the Black struggle, despite Mitchell’s attempts to convince him that the KKK and the Black Panthers are flip sides of the same coin.
It is a tribute to Stanfield’s acting chops and the wise decision to let the most conflicted character carry the weight of the film that elevates the movie. After the deaths of the Black Panthers in the dawn raid, O’Neal was relocated to California under the Federal Witness Protection Program and used the name William Hart until returning to Chicago in 1984. His involvement in the death of Fred Hampton, including drugging Hampton before the planned raid, was not revealed until 1973.
Daniel Kahluua emerged as a star after his role in “Get Out.” He is now 31 and a much more substantial figure than when he played the boyfriend in that earlier film. Fred Hampton was 21 when he was assassinated. Hampton’s background prior to his death was that of a community organizer of exceptional skill, who saw the benefits in uniting all the disparate ethnic peoples of Chicago, the nation and the world. He formed the Rainbow Coalition and brokered deals where his fiery oratory moved the crowds that assembled and alarmed the FBI. The no-knock raid at Hampton’s house in the middle of the night reminds of Breanna Taylor’s recent death. The recent Black Lives Matter protests also serve as a timely backdrop for this socially conscious film.
Deborah Johnson (now known as Akua Njeri) is portrayed by actress Dominique Fishback. The fiancé of Fred Hampton, she gave birth 25 days after Fred Hampton’s death. (Fred Hampton, Jr. is now 52 years old.) Dominique has appeared in “The Deuce” and “The Hate U Give.” Dominique gives a nuanced performance as the poet who applies to the Black Panther headquarters in Chicago to help Hampton improve his speeches. Their low-key courtship adds a behind-the-scenes look at the man whom we see orating like MLK in other scenes. (One question: how would the very white Jesse Plemons character— even while wearing a stocking cap— not stick out like a sore thumb inside the meeting place when Hampton is speaking with ringing phrases like, “You can murder a revolutionary, but you can’t murder a revolution,” or “I’m gonna’ die for the people because I live for the people?”)
Cinematographer Sean Bobbitt (from San Antonio), who worked on “Twelve Years A Slave” and “Hunger,” does a great job of turning late 60s Chicago into a sepia-toned retro landscape. The bar used in the initial scenes and later in the film, Leon’s Bar, reeks of that era. The scenes that involve gun battles (3) are dark and the shooting of a cop near a factory has very interesting angles framing the action.
Mark Isham and Craig Harris handled the music; they do a fine job setting the sixties tone.
The principals behind the film shared in an interview that they worked very hard to make sure the film was accurate. This meant contacting the families of those who were involved the night of the climactic shooting. In particular, Fred Stanfield, Jr., who is now 52 and works on prisoner’s rights, was consulted. The team said, “It changed all of our lives and we’ll be far better off because of it.”
“A badge is scarier than a gun.”
“Political power flows from the barrel of a gun. You need tools, brother.”
“Words are beautiful, but actions are supreme.”
“Every ghetto across the nation should be considered occupied territory.”
“The most dangerous weapon is the people.”
“Our job, as the Black Panther Party, is to heighten our traditions so the people can decide if they want to overthrow the government. Or not.”
“We want land, bread, housing, education, democracy and peace.”
“You can’t shoot your way to equality.”
PRODUCTION TEAM’s THOUGHTS
The team responsible for the movie, including Ryan Coogler and Director Shaka King shared their experiences making the film in a Warner Brothers interview. Coogler said, “There would be nights when I couldn’t sleep.”
On the general public’s lack of knowledge about Fred Hampton until now, King said, “There could be 100 movies on this subject and it still wouldn’t be enough.”
The director and Coogler mused about how, so often bio-pics reach the screen, and the families then protest that the film is totally inaccurate, saying the movie did not reflect the truth about their loved ones. The makers of Judas and the Black Messiah did not want that to happen with their film, so they actually traveled to Chicago and sat at the very table where, 52 years ago, Fred Hampton worked.
Said one of the producing partners: “Coming out of this, I don’t think I’ll ever look at (bio-pic) movies the same way again.”
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