Shaka King’s Judas and the Black Messiah – a film about the Black Panthers and the assassination of activist Fred Hampton – is an infuriating film to watch. Not because it’s bad. In fact, it’s quite the opposite. This is a film that paints broad-stroke themes of revolution, betrayal, and police brutality in such a way that rings harrowingly true to today’s word – despite taking place over fifty years ago.
If you know anything about Black Panther leader Fred Hampton (Daniel Kaluuya turning in yet another impeccable performance here), you know the tragic fate he suffered in 1969 – shot in his home by the FBI. But even for those familiar with the journey, King’s sophomore feature is still a thrilling and unpredictable ride to watch play out as car-thief-turned-FBI-informant William O’Neal (LaKeith Stanfield) infiltrates the Panthers and brings about Hampton’s inevitable demise at the height of the Black Power Revolution.
It was a moment briefly touched upon by Aaron Sorkin’s The Trial of the Chicago 7 last year, although the film decided to keep Hampton – played in that film by Kelvin Harrison Jr. – to the sidelines. For those that wanted more, King is here to deliver the goods with a story that puts him front and centre. A lot of the first half of Judas, then, is spent showing O’Neal seed himself deep in Hampton’s inner circle. But as most of these narratives play out, maybe he gets a little too deep and starts forging real connections with those around him. The script, penned by King and co-writer Will Berson, tells the story from O’Neal’s perspective and it makes for a complex and enthralling framing device as we see him work with the Panthers and then report back to federal agent Roy Mitchell (Jesse Plemons) – the puppet master of the whole operation.
It adds a lot of emotional weight to the proceedings and makes the FBI informant story all the more investing – a narrative that could have easily felt too conventional. Of course, King and Berson’s sharp script is elevated by an ensemble on top form and two masterful performances from Kaluuya and Stanfield. Kaluuya brings a cold quietness to the role that makes his monologues all the more intense, and the softer moments with Dominique Fishback as Hampton’s partner, Deborah Johnson, all the more intimate whereas Stanfield is more explosive and expressive. His performance is fidgety and erratic and contrasts Kaluuya’s steely conviction well. The pair have excellent chemistry too and both actors bring a sympathetic, human edge to each of their roles that make their dynamic all the more heartbreaking.
A Molotov of a film, Judas and the Black Messiah has volatility and unpredictability underpinning every moment thanks to King’s fierce filmmaking and riveting writing. Despite knowing where the story is ultimately headed, the 126-minute runtime is full of surprises and moments of heart and pathos that illuminate these people and this time with such sincerity. When the dust settles, it’s not Kaluuya’s rousing speech or Stanfield’s emotional outburst at dinner that will stick around. As good as those moments are at crafting a visceral story of revolution, it’s the softer moments – Hampton and Johnson stealing moments of quiet; a hospital scene involving a superb Ashton Sanders – that make Judas such a brilliant piece. The moments of humanity and pathos amidst the scintillating story at revolution and betrayal.
Judas & The Black Messiah is released on 11th March.
Judas & The Black Messiah
Summary
A Molotov of a film; a visceral story of revolution and a fierce piece of filmmaking from Shaka King.
