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Perhaps slyly acknowledging this debt to documentary cinema, “Judas and the Black Messiah” opens with mock footage of William O’Neal (LaKeith Stanfield), a petty crook turned paid FBI informant, being interviewed in 1989 for the film “Eyes on the Prize II.” Even for those unaware of the events he’s about to relate, something in Stanfield’s eyes, so good at projecting unease, immediately identifies William as the Judas of the title.
(The most salient of these might be 1971s “The Murder of Fred Hampton,” which made the case early on that Hampton was assassinated as part of a larger conspiracy.) Given the American film industry’s long-standing preference for reassuring, white-centered narratives of racial justice, it’s no small thing to see a major studio release place the grass-roots activism and political spectacle of the Black Panthers center-frame - a task that until now has largely been the domain of nonfiction works.
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Notwithstanding the recent “The Trial of the Chicago 7” (in which Hampton and his famous comrade Bobby Seale both have roles), the relative dearth of Hollywood movies about the Black Panther Party for Self-Defense presents King with both a challenge and an opportunity. It also occupies a unique place in the annals of cinema devoted to the history of the civil rights movement and its place within the larger counterculture of the 1960s. He has a tactician’s understanding of war but proves touchingly shy in matters of love, as observed by his fellow Panther and girlfriend, Deborah Jones (Dominique Fishback), in a flirtation scene that begins with a dual Malcolm X recitation and ends with the sweetest of kisses. He is a cynic and an idealist, a dreamer and a doer, and a hell of a stylist, rocking a corduroy blazer in a sea of berets and black leather jackets (the work of costume designer Charlese Antoinette Jones). He urges his fellow Panthers to embrace socialism, practice militancy and reject any culture - even traditional African culture - that might tempt them from the path of revolution.īut Fred is many other things too: an educator of young children, feeding their bellies and minds through local breakfast programs, and a builder of diverse coalitions, forging unlikely bonds with Black, Latino and white activists across one of America’s most segregated cities. You can see why Hoover’s so rattled: The Fred Hampton we meet is a born activist, a master orator and a ferocious critic of the white power structure. Edgar Hoover (a scowling Martin Sheen), who’s shown directing his FBI underlings to take action against this potential “Black Messiah” and the various subversives he is bound to inspire. As chairman of the Black Panthers’ Illinois chapter, he is the target of much hateful scrutiny from J. Kaluuya (Oscar nominated for “Get Out”), an actor of boundless charisma and versatility, reveals the same qualities in Hampton himself. Memorialized for his tragic death, he is reclaimed here as a figure of boisterous, defiantly big-hearted life. One of the achievements of this movie, an expansive yet intimate chronicle of the events leading up to Hampton’s 1969 killing during a police raid on his Chicago apartment, is that it restores the man, for two hours at least, to some dramatic semblance of his former glory.
In the coolly electrifying “Judas and the Black Messiah,” you can’t take your eyes off Daniel Kaluuya as Fred Hampton, the Black Panther Party leader who would become a 21-year-old martyr and revolutionary icon. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the Centers for Disease Control and Prevention and local health officials. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic.