To say the story of Fred Hampton and the Black Panther movement of the 1960s has not been well represented in mainstream media is an understatement. We’ve allowed for this aspect of our history to be watered down and excluded from the narrative for the sake of easy consumption. As a result, there are very few high profile studio movies that focus on the Panther party and their beliefs and struggles. And yet, in spite of this whitewashing, Judas and the Black Messiah, a film by an unknown director released in the middle of a global pandemic, has overcome the systematic obstacles in its path, and is undoubtedly on its way to the Oscars.
This movie is incredible.
Newcomer Shaka King masterfully directs a top-notch cast in one of the most exhilarating films of the season. An edge-of-your-seat thriller, the film follows a reluctant FBI informant (LaKeith Stanfield) as he infiltrates the Black Panthers and collects intel on Chicago party leader Fred Hampton (Daniel Kaluuya). We see firsthand the work that the party strives to do for the betterment of their community, contrasted starkly with the cold and calculated government bureaucracy that intends to tear them down. Caught in the middle is Stanfield’s Bill, who has sold his soul for a chance at personal redemption.
What’s interesting about the Christ parallel, which the title alludes to, is that the film is told from the point of view of the betrayer. We see the humanity of Bill as he slowly unravels, played with incredible depth by the criminally underrated Stanfield. I’ve been a massive fan of his work since his debut in 2013’s Short Term 12, as the actor seems to reinvent himself with every role, Judas being no exception. Daniel Kaluuya, as the allegory’s messiah figure, is an incredible foil, showing nothing but warmth to his family of supporters. The scenes the two men share feel Shakespearean in scope, as every nuance and verbal twist are played for all they’re worth. These two historical figures are complex, to say the least, and these two actors are up for the challenge. The character work that went into these performances is astounding in its own right.
King has managed to swerve around the traps of a typical biopic, by instead presenting the story as a spy thriller. The pacing is unlike anything I’ve seen, moving at its own speed, slowing or ramping up as the plot dictates. There are legitimate action setpieces. There’s humor. There’s horror. This is anything but a typical period piece drama and I love it.
Easily one of the season’s best films, Judas and the Black Messiah is a piece of art I’m sad I’m not able to experience in a theater. It had me gasping out loud, alone in my room. One can only imagine how it would have affected a wider audience. This is a powerful, thought-provoking, and exhilarating movie. One I could see myself rewatching almost immediately, thanks in part to its HBOmax distribution.
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