By Nadia Ranaputri
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| Image source: WBUR |
Director: Shaka King
Cast: Lakeith Stanfield, Daniel Kaluuya, Jesse Plemons, Dominique Fishback, Darrell Britt-Gibson, Martin Sheen.
There's an art to a good trailer, the excitement for a film could depend on how well the trailer is. I don't know what it is, but when I find a trailer that really catches my attention, it sticks with me for quite some time. Trailers like Man of Steel, Mad Max: Fury Road, and perhaps one of the most iconic ones, The Social Network, are made to near perfection, I would revisit them from time to time. Where am I heading with this? Well, Judas and the Black Messiah is the latest addition to the group of incredibly made trailers that instantly convinces you to see a film. Add in potential powerhouse performers like Lakeith Stanfield and Daniel Kaluuya, and it became an absolute must-see for me.
Judas and the Black Messiah is a historical biopic centered around the infamous Fred Hampton and fellow FBI informant William "Bill" O'Neal. Set in the late 1960s, William O'Neal (Lakeith Stanfield) is first seen impersonating an FBI agent and unsuccessfully attempts to hijack a car. Upon his arrest, O'Neal is faced with a very real FBI agent, Roy Mitchell (Jesse Plemons), who offers him a deal: work as an informant for the FBI in exchange for release from all charges against O'Neal during his stint as a criminal, including the chance for him to evade jail time. His main job? Infiltrate the Illinois Black Panther Party, retrieve as much information as he can, and get as close as possible to the group's deputy chairman Fred Hampton (Daniel Kaluuya), whose motivations and cause is considered a potential threat to the country by the FBI. O'Neal eventually becomes the middle ground between the Black Panther Party and the FBI, which leads him to face a harrowing moral struggle and a slow-stirring paranoia.
Let's talk about Lakeith Stanfield and Daniel Kaluuya, because we absolutely need to. Their performances here bring the film to a whole other level, especially Kaluuya as Fred Hampton. Kaluuya dominates the floor every time he comes on screen, and his performance doesn't just sweep the floor, it destroys the floor, it completely diminishes it until it's no longer there. It sounds like an exaggeration, but that's how powerful Kaluuya's performance is in this film, it's one that deserves every bit of recognition. The scene where he delivers an exhilarating speech that ends with the chants of "I am a revolutionary" to a full crowd (one that you may have already seen in the film's glorious trailer) gave me chills in the best way possible. I had to refrain myself from saying, "give this man an Oscar right now" out loud. Stanfield is also incredible as FBI informant William "Bill" O'Neal, nailing a stoic poker face in Judas facade, whilst also delivering a great amount of nuance in his performance. O'Neal is a relatively quiet figure compared to Hampton, but beneath that, he's riddled with underlying fear and burden, something that Stanfield is able to convey so well, it makes you sympathize with his position. Ultimately, O'Neal is only trying to survive, having to balance carrying out a job for the FBI whilst having to face the inner struggles of betraying a figure like Hampton, whose influence becomes increasingly impactful. Jesse Plemons also deserves a mention, because despite his limited screen-time, he really makes his presence known with his performance as FBI agent and O'Neal's handler, Roy Mitchell.
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| Image source: The Wrap |
The film really knows how to craft a story in two sides, though how it's executed isn't perfect, it is still well incorporated. By looking into the different perspectives, Judas and the Black Messiah presents an interesting outlook into how one side views the other. The FBI sees Hampton and the Black Panther Party (BPP) as a threat, while Hampton himself and the BPP are outraged at the unfair treatment of minorities. Yet the screenplay shows how seething the FBI was towards Hampton's cause, as well as other causes that fight for the freedom of its community. They see the Panthers in a negative light, inciting nothing but terror, yet that couldn't be farther from the truth. To see someone like William O'Neal be so naively brought as their informant makes his Judas status all the more excruciating, not to mention his conflicted emotions on carrying out such a harrowing job. On Hampton's side, we get to see how he came to power in the Black Panther Party, as well as his budding romance with Deborah Johnson, unraveling the different layers of Hampton's story. So to witness these events unfold from the two sides really brought the film an incredible amount of tension. Knowing history, you're bound to prepare for the inevitable, but it doesn't make it any less compelling. Screenwriters Shaka King and Will Berson knew exactly the kind of story they're dealing with, and it definitely shines through in tremendous fashion.
While you get a general
outline of Hampton's role in the community, the formation of the Rainbow
Coalition and the Black Panther Party, it's the execution that
makes it simply riveting. The
film truly knows how to make a statement, and what a statement it is,
because it really hits all the right beats in bringing an incredibly
compelling story to the screen. The pacing can seem a bit off at
times, yet that doesn't drag the film down in its entirety. The film makes almost every ounce of its scenes work, raising
the stakes and crafting a sense of urgency that drove the film at its
peak. As
the stakes are built and the consequences come into play, it draws you
right in to the story and keeps you hooked. Once you're in, it's
impossible to get out. And for most of the time, it's able to flow so naturally, juggling from one side to the other, crafting the strain and stretching it to its limit. As O'Neil becomes increasingly paranoid, so do we. As he is riddled with guilt and realization of just how deep this rabbit hole goes, what was once a pressure becomes an absolute burden, you can't help but feel sorry for him. Yet, as we fear for O'Neil's life, we also fear for Hampton's and his cause, all while knowing exactly how this turns out. It's like being forcefully dragged into an unavoidable, but ruinous and dreadful fate. You're confined to watching a harsh look at this particularly dark moment in history.
But while the film thrives
in tension and razor-sharp storytelling, it's no
short of heart, and Deborah Johnson (played by Dominique Fishback with a stunningly heart-warming performance) provides just
that. In a role that could have easily been a one-note love interest,
Deborah Johnson is far from that. In fact, part of the film's tenderness and warm spirit belongs to her. Fishback's
performance is soulful, she adds a bit more life and passion to the an
already tension-filled film, not to mention the fine chemistry between
her and Kaluuya that grounds and humanizes him. Being the one to capture Hampton's heart, she
becomes his guide,
an inner voice of reason that could see right through him. In these moments, we get to take a little bit of a breather, a pause from all that tension, to witness affectionate character moments. That
aspect added more depth into not only Hampton as a character, but the
film itself. The moments between Johnson and Hampton provide moments of
calm, happiness, and it's also key to not only grounding the film, but to
hammer the emotionally heavy aspects of the story right home. While the film could have delved in more into this romance, it gives us enough for us to care for them, which in turn, keeps us gritting our teeth when the film begins to ramp up again, and it makes the inevitable incredibly intense, agonizing even.
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| Image credit: WBUR/ Warner Bros. |
If there was any flaws with the film, it's how it executes its storytelling at times, but this is merely a nitpick rather than anything major. As someone who isn't familiar with Fred Hampton, I felt like there is so much to explore when it comes to Hampton's story. Hampton is an incredibly influential figure, whose impact lasted decades, and I wanted to know more about him beyond what the film portrayed. Even though O'Neal provides an intriguing perspective as the main voice of the film, Hampton should have been the real focal point here, the true protagonist of the story. Yes, we do get his side of the story, but sometimes that story aspect is often clouded with a change of perspective, mainly that of the FBI. While the film was able to capture some of the essence of his character and has moments that will certainly leave a significant force, it felt like a missed opportunity to not place him in the forefront of the story. Despite that, while O'Neal can come off as a less interesting character compared to Hampton, O'Neal's battle of morality is certainly one of the more enthralling arcs. The thing is, the film is at its most fascinating when it focuses on Hampton and the Black Panther Party, I just wished that the film took more laser focus on the story. Again, this is just a minor gripe I had with the film, it didn't stop me from appreciating the film nonetheless.
For Shaka King's second debut, it is most definitely a strong one. Judas and the Black Messiah
is an engrossing and powerful film that is executed just as much. It knows that it's
dealing with a tough subject matter, and it doesn't refrain itself or
sugarcoat the situation. It takes a while for the film to turn on high gear, and once it does, it is electrifying. It's easy to compare the film to something like
Spike Lee's BlackkKlansman, given the similar subject matter, but Judas
manages to be its own thing, and is far from Spike Lee's 2018 virtuoso
in terms of execution. Shaka King certainly knows a thing or two in making an impact. Much like Aaron Sorkin's The Trial of the Chicago 7,
and even BlackkKlansman for that matter, there is no better time to tell a story like this than now. With the recent cases of police brutality and the rise of the Black Lives Matter
movement, Judas and the Black Messiah feels especially reflective of the
times, emphasizing its prevalence. As I sat there, watching the film unfold, I was
struck by how they pulled this film off. It brings a powerful subject
matter to life and emphasizes on its importance, shedding light on the
injustice and downright discriminatory actions towards those fighting
for their rights. To put it more shortly, it's thought-provoking, engaging, and more relevant than ever.
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| Image credit: IMDB |
Overall verdict: Judas and the Black Messiah is a strong second debut from director Shaka King, bringing the ever compelling story of Fred Hampton and the person responsible for his downfall to the screen in an engrossing way. Lakeith Stanfield and Daniel Kaluuya deliver perhaps the best performances of their careers as William O'Neal and Fred Hampton, respectively. Kaluuya especially, is spectacular. While he lacks physical similarities with the real Fred Hampton, he certainly makes up for it in his performance, which is nothing short of electrifying and demands every bit of your attention. Stanfield, on the other hand, brings a more stoic and quiet performance, but it's one that's eventually unraveled with depth and nuance. The sharp and thought-provoking execution is what makes the film the maestro that it is, though it also isn't short of heartfelt and grounded moments, particularly through Dominique Fishback's Deborah Johnson. Its deliberately slow place makes for a brutal third act that took the film to its very peak. However, it isn't without its flaws. Though O'Neal's perspective is interesting enough, I couldn't help but feel like Hampton should have been the main focal point as opposed to O'Neal, but I consider this as more of a minor flaw. Overall, Judas and the Black Messiah is an engrossing outlook on a story that is more significant than ever. It is really one hell of an captivating film, and how it plays its cards is simply masterful.
Stars: 4.6/5
Judas and the Black Messiah is currently available to watch on HBO Max
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