Logan Sork Film Reviews
Judas and the Black Messiah
Biopics are a tricky thing to pull off. While one might think it is relatively easy to do given that the story has already happened, there are some mistakes that filmmakers fall into when bringing a historical figure’s story to life. They, for instance, might just focus on the surface-level accomplishments of them and not bother to portray them as actual people, presenting a superhero-like being that towers over them rather than the humans they really are. Thankfully, Judas and the Black Messiah avoids this mistake when it comes to biopics. It not only emphasizes the importance of the events surrounding the people involved but also humanizes them in a way that makes them seem as real as they once were, making this film an engaging watch from start to finish.
Directed by Shaka King, Judas and the Black Messiah follows the true story of William O’Neal (Lakeith Stanfield), a small-time car thief who is arrested by the police and is approached by FBI agent Roy Mitchell (Jesse Plemons) with an intriguing offer. Rather than being sent to prison, O’Neal is tasked to infiltrate the Illinois chapter of the Black Panther Party and to gain their trust. His primary task is to get close to the party’s charismatic leader Fred Hampton (Daniel Kaluuya), an individual who wants to unite the oppressed groups of the nation into a united coalition. As O’Neal works his way into the organization and gets close with Hampton, he begins to question where his loyalties truly lie as he navigates the political and literal battles in the fight for Civil Rights.
Even without knowing much about the historical events surrounding the film, anyone can watch this movie and appreciate the truly powerful performances on display. This is certainly not Lakeith Stanfield’s first rodeo when it comes to the lead role, but it’s the first time I am truly appreciative of his contribution. He plays O’Neal as someone who feels split between what he wants. A man who wants to fight the system but is also employed by it and reaps the benefits of it. All of the little nuances that Stanfield brings out help to add more complexity to an already complex character.
The real star of the show though is Daniel Kaluuya, another actor who has been in the limelight for some time and brings his A-game in what is sure to be his defining role. Fred Hampton’s story often feels like a footnote in the fight for Civil Rights, but the film and Kaluuya’s performance make a strong case for him to be included more often. Kaluuya perfectly captures the spirit of Hampton in every scene he occupies. From his stirring, triumphant speeches that keep you on the brink of your seat to the quieter, more intimate moments he shares with his fellow party members and his girlfriend, the film and Kaluuya do an excellent job in humanizing a legendary figure.
Director Shaka King is also to be praised for his masterful handling of the film on a technical and emotional level. Biopics like this can sometimes be overlong and dull after a while. Thankfully, King is able to breathe life into every scene of the film be it by bringing out the best of his talented cast or staging a beautifully framed image that perfectly captures the mood and feel of the story and setting. He also paces the film well, juxtaposing the aspirations of Fred Hampton and the party with William O’Neal’s struggle to demonstrate the complex political nature of the Civil Rights movement and creating a great tension that permeates the entire run-time.
There are some elements of the film that don’t quite work though. One of them being the score by Mark Isham, which keeps with the period of the film but feels overlayed in some areas of the film. A film score is supposed to work with the film to create a sense of the world of the story. While it does mostly succeed in that regard, there are moments in the score that feel like they are pasted on top of the film rather than being woven into it. The film also drags occasionally and certain plot elements don’t feel as fleshed out as they could have been. One big one involves a way in which a potential mole is dealt with in the Black Panther Party. We hear about it through exposition, but actually seeing it would’ve heightened the consequences O’Neal was facing had he gotten caught.
In the grand scheme of things, however, the film’s flaws are overshadowed by the very real exploration of the hard battles that had to be fought in the Civil Rights movement. Oftentimes, films of this caliber explore the issues mainly as being social rather than politically motivated. Judas and the Black Messiah explores both of these areas, showing how hate and discrimination have permeated into not just the social sphere, but also into the political one as well. This is seen in the very real portrayal of FBI Director J. Edgar Hoover (Martin Sheen), who was out for blood with Hampton, even though Hampton’s goals were not to spread terror and violence. His goals were to help feed struggling communities, establish medical centers, and make the world a better place for oppressed peoples of the United States. This contrast between Hampton’s good intentions and the evil of the system makes his tragic death all the more devastating.
Judas and the Black Messiah is a well-acted, well-directed, and powerful tragedy that perfectly captures the story of Fred Hampton and his all too soon demise. Lakeith Stanfield and Daniel Kaluuya turn in some of the best performances I have ever seen, bringing larger-than-life figures down to a human level without minimizing their importance in the Civil Rights movement. Shaka King brings all of the cinematic elements together in a beautiful symphony to create one of the most riveting biopics I have seen in a long time. Even if you do not know or have no interest in, the story of Fred Hampton, Judas and the Black Messiah is well worth your time.
9/10