12 Feb Judas and the Black Messiah Review

JUDAS AND THE BLACK MESSIAH

dir. Shaka King, starring Daniel Kaluuya, Lakeith Stanfield, Jesse Plemons, Dominique Fishback, et al

A biographical drama, Judas and the Black Messiah tells the story of Black Panther Fred Hampton and his betrayal by FBI informant William O’Neal.

Judas and the Black Messiah serves to tell two stories that lead to one inevitable conclusion: the assassination of Black Panther Fred Hampton at the hands of the FBI and local law enforcement. Hampton, an influential member of a Chicago chapter of the Panthers, is becoming increasingly effective at rallying and organizing multiple communities, urging them all to free themselves of an oppresive government that has stymied them at every possible chance. With increasing pressure from Director J. Edgar Hoover, FBI Agent Roy Mitchell tasks petty criminal William O’Neal with infiltrating Hampton’s Panthers and feeding them information. The dual stories of Hampton’s efforts and O’Neal personal struggles mount to a climax that is equal parts shattering and sickening.

Acting wise, Judas and the Black Messiah couldn’t have been more perfectly cast. Daniel Kaluuya plays Fred Hampton with a fierce intensity, speaking to the crowds with the fervor of an old school southern pastor while also bringing a shy, boyish charm to the quieter scenes with Dominique Fishback. Hampton’s earnestness at creating a better community (as well as his pride in all he’s achieved) brings an additional layer to the character, making him multifaceted and fully realized. This is by far Kaluuya’s most captivating performance to date, topping a relatively small but already impressive resume. On the other side of that coin is Lakeith Stanfield’s Bill, the FBI informant sent in to dismantle Hampton’s Black Panthers from the inside. Stanfield’s quieter, more withdrawn roles are where he shines best and this is no exception. To me, Bill is the lead in this movie as we see the impossible situation he finds himself in and the inner turmoil he experiences the further he becomes ingrained within the organization. Bill’s progression through the story is a fascinating ride as he becomes more open with both Fred and with his FBI handler, Agent Mitchell. Played by Jesse Plemons with a sheepishness that has become a staple of his, Agent Mitchell is one of the grey areas of the film. While Plemons doesn’t have the screen time of Kaluuya or Stanfield, he still manages to come across as a complex character who is both good at his job but at times appears to be uneasy in the role he’s tasked in. Plemons’ masterful use of subtlety shines through here, using a combination of hesitation and mumbled words as a mask that rejects the audience’s way into his thoughts and motivations.

Dominique Fishback, fresh off Netflix’s Project Power, holds her own against Kaluuya as his significant other. As Deborah Johnson, she serves to anchor Kaluuya’s Hampton as a source of strength and focus. Other smaller roles, to include Dominique Thorne, Algee Smith, and Ashton Sanders, serve to help flesh out the world of the Black Panthers and show that while the organization was a serious one committed to a serious cause, there were also strong familial bonds between them during downtimes. Even Martin Sheen, playing against type as FBI Director J. Edgar Hoover, manages to loathe and slime his way through the handful of scenes he’s in.

Shaka King’s sophomore effort, Judas and the Black Messiah feel more like a story crafted by a seasoned director. His expert eye for a well composed shot as well as his ability to move the camera in ways that frame the characters in unique positions make for a visually striking film. Every actor and actress looks their best here, a testament to veteran cinematographer Sean Bobbitt, whose other credits include 12 Years a Slave, Widows, and Queen of Katwe. In short, Bobbitt has become well versed on the best ways to light and shoot dark skin and it shows here. At 126 minutes, the pacing is deftly handled with great editing, oscillating between Fred’s struggles to unify a community and Bill’s struggles with allegiance. Where the story could lull with Fred being imprisoned in the second act, it gives Bill his chance to carry the movie, keeping the story from dragging and moving it towards its inevitable conclusion.

Overall, Judas and the Black Messiah is a powerful film that casts Fred Hampton in the best possible light. After years of award bait films that focus on Black trauma (see: 12 Years a Slave, Lee Daniel’s The Butler, Detroit, The Hate U Give, etc), it’s refreshing to see a film that highlights the fights for equality and the desire for a better lifestyle. The struggle and pain are both still present and at the forefront, but seeing the perspective from Hampton’s mindset of determined optimism makes for a refreshing experience rarely seen on the big screen. This, combined with an incredibly strong cast, excellent direction, and gorgeous cinematography makes the film a day one must watch. Judas and the Black Messiah will be available via HBO Max on February 12th.

Review by Darryl Mansel