For the Love of the People - Judas and the Black Messiah Film Review
Judas and the Black Messiah shines at Sundance 2021
This year’s Sundance was slightly different due to the pandemic, and it was accessible to everyone via virtual screenings. Part of this year’s incredible programming was Shaka King’s anticipated feature film Judas and the Black Messiah. The Black Messiah is Fred Hampton, played by the electrifying Daniel Kaluuya, the Black Panther Party’s Chicago chapter’s charming and intellectual leader. Judas’s titular role is the FBI informant William O’Neal, played by LaKeith Stanfield, who infiltrated the Black Panther Party’s Chicago chapter, ultimately leading to Fred Hampton and Mark Clark’s assassination. This film is powerful, enraging, and so heartbreakingly tragic.
"When I was introduced to them in school, the Black Panther Party was to be feared. After educating myself, the Black Panther Party provided a platform that no other did"
The film opens with Huey P. Newton, Angela Davis, Bob Lee, and Bobby Seale’s audio and visuals. With chantings of “Revolution is the only solution,” you immediately understand the sense of urgency for change and how relevant it is for today. When I was introduced to them in school, the Black Panther Party was to be feared. After educating myself, the Black Panther Party provided a platform that no other did - programs that served free legal aid, medical clinics, free breakfast program, and education for the community doing this all out of love. Interestingly, we see J.Edgar Hoover played by Martin Sheen, in the most heinous, satanic-looking prosthetics I’ve ever seen. Refer to the black panther party as the greatest threat to national security, and they must prevent the Black Messiah’s rise. Leading us to William O’Neal, the film follows his journey for survival and internal struggle befriending comrade Fred Hampton and untimely betrayal.
LaKeith Stanfield beautifully performs the internal struggle William is battling, with subtle eye movements and slight eye twitches. A cautious smirk on his face as he’s laughing with his comrades, played respectfully by Dominique Thompson as Judy Harmon, Ashton Sanders as Larry Roberts, Algee Smith as Jake Winters, and Darrell Britt-Gibson as co-founder of Chicago BPP chapter Bobby Rush. Daniel Kaluuya’s portrayal of the revolutionary Fred Hampton is masterful; he is a force to be reckoned with — the cadence of his voice for his speeches gave me chills, a recreation to Hampton’s speeches is profound.
"Survival and legacy, I think, is one of the many themes, if that is a way to phrase it, in this film."
There’s no denying how important women were part of the movement. In this film, I saw and felt that they were highlighted, specifically with Dominique Fishback’s gentle portrayal of the smart and fiercely writer Akua Njeri, formally known as Deborah Johnson. Akua Njeri was Fred Hampton’s fiancé and was pregnant when he was murdered in his home while they were sleeping. We are introduced to her when she and Fred talk about poetry. The love they have for literature and that sparks their relationship is beautiful to see. When he has this speech being welcomed home after being released from prison, a scene comes to mind. It is chilling to the bone as he talks about death and the possibility of being killed. The camera cuts to Deborah, who is now a vessel for a new life. Come to terms with the possibility of losing her beloved just wrecked me. I think it’s helpful that Shaka had Akua and Fred Hampton Jr as cultural experts with the film, and they also had a researcher Dr. Raymond A. Winbush. Without providing a spoiler, Fred has a conversation with Ms. Winters that adds to being a vessel for a new life; wanting to protect and love your own is touching. In the movie, we are reminded that our sisters are sisters with arms and need to be respected. There is an introduction to a minor character Betty who got recruited. We see the part Betty plays within the organization and the character Judy, a staple in Fred’s crew. We also see a cameo of Lady Rage, which brought me delight.
Survival and legacy, I think, is one of the many themes, if that is a way to phrase it, in this film. William is doing what he has to do to survive, the black panther party doing what they have to do and provide for their community’s survival. Another is the importance of solidarity. In a lecture, Fred states, “is going to take everyone to overthrow the government.”The movie has a beautiful score of sensual and brassy jazz music, and I noticed that the music is soft and sometimes bombastic in the first half of the film. After William meets Roy Mitchell, the last time played by Jesse Plemons, there isn’t any music. The silence heightens the daunting reality of what will happen to Fred Hampton, Deborah Johnson, and his comrades who are staying with him.
The film is set in 1968 Chicago, which means vibrant retro colors. The cinematography is stunning; lush greens, saturated reds, and sparkling cool blues. The director of photography, Sean Bobbit, shows how brown hues are illuminated on-screen and dazzling for my eyes. The production design, Sam Lisenco with art director Jeremy Woolsey, was abundant in the time’s art decor. Roy Mitchell’s bar cabinet with decanters stood out to me. The details are why I love period pieces. Of course, I was happy to see the Black Panther Party posters designed by Emory Douglas throughout the film.I would love to ask Shaka King what it was like to direct this film, the research and production meetings, and the process of funding for this feature. I can imagine it was difficult. I am happy that this film got made to unearth the fruitful world that the Black Panther Party wanted for America. The Black Panther Party’s legacy is laid out for us to grow from, and the work we do is all for the love of the people like Fred Hampton. Judas and the Black Messiah is going to be released on HBO Max, February 12th.
For more Film/Theatre content click here