“Judas and the Black Messiah,” featuring LaKeith Stanfield and Daniel Kaluuya, was originally slated for an August 2020 release. Given the events of last summer, this timing would have been particularly resonant. The film is among the first major productions to explore the narrative of the Black Panther Party, a pivotal political organization established in the 1960s. Kaluuya portrays Fred Hampton, the Chairman of the Chicago chapter, a young leader whose life was tragically cut short by government intervention. Stanfield plays William O’Neal, the man who betrays Hampton and plays a direct role in his demise.
The film primarily focuses on Bill O’Neal rather than Fred Hampton. It effectively illustrates the FBI’s relentless pursuit to eliminate Hampton. O’Neal, a career criminal, feigns being an FBI agent to facilitate car theft and ultimately agrees to infiltrate the Black Panthers to avoid incarceration. After watching the film, one might question whether the prison time would have been the better option. O’Neal ingratiates himself with Hampton, using an FBI-issued vehicle to transport Party members. Though his loyalty is often questioned, he quickly earns their trust. The film skillfully maintains ambiguity around whether O’Neal ever truly embraced the Party’s ideals.
I may not be well-versed in religious themes, but I recognize the story of Judas betraying Jesus (thanks, Andrew Lloyd Webber). The comparison of O’Neal to Judas and Hampton to Jesus is apt; O’Neal earns Hampton’s trust only to deliver him to the authorities. Instead of a kiss on the cheek, he provides the FBI with a detailed layout of Hampton’s apartment before fleeing as the police storm in with guns blazing. Fred Hampton was shot while he slept, defenseless in his bed.
For those unfamiliar with this chapter of history, “Judas and the Black Messiah” poses an essential question: Who was Fred Hampton, and why did FBI Director J. Edgar Hoover label him “the greatest threat to the internal security of the country?” When discussing the Civil Rights Movement of the 1960s, we often hear the names of Dr. Martin Luther King Jr., the peaceful preacher, and Malcolm X, the more militant figure. However, many others contributed significantly to the struggle. The Black Panther Party aimed for more than mere equality; they sought to empower and uplift the Black community, championing initiatives like free breakfast and medical programs. They took action rather than just preaching from a pulpit.
Fred Hampton, the Chicago chapter’s Chairman, was an astute and charismatic leader. Joining the BPP at just 20 years old, he quickly ascended to prominence. His oratory skills captivated audiences, a talent highlighted both in archival footage and Kaluuya’s compelling performance. It was this ability to engage and inspire that made the FBI perceive him as a threat. Hampton’s leadership unified the BPP, the Young Lords, a Puerto Rican gang-turned-political organization, and the Young Patriots, a group of impoverished, migrant whites.
The film intersperses scenes of Hampton and the Panthers with those of Hoover and the FBI agents targeting him. Like Malcolm X and Dr. King before him, Hampton was on the FBI’s radar due to his radical views. The government considered the Black Panthers a terrorist threat, fearing their rising influence could lead to an upheaval. Through their COINTELPRO program, they infiltrated “radical” organizations and used informants like O’Neal to dismantle them.
Despite FBI efforts to arrest Hampton, it was not enough for Hoover. In one scene, he presses the agents assigned to Hampton, revealing his determination to see Hampton dead. He expresses concern over a future where his daughter might bring home a Black boyfriend, and in the next scene, he demands O’Neal provide a layout of the Panthers’ apartment. The message is clear: opposing the U.S. government has dire consequences.
In the early hours of December 4, 1969, 14 armed Chicago police officers raided the apartment, firing indiscriminately. While nearly every Panther present was injured, only two fatalities occurred: Fred Hampton and Mark Clark, a prominent member from Peoria, Illinois. Hampton had been drugged by O’Neal, ensuring he slept through the assault. He was shot in his bed alongside his fiancée, Deborah Johnson, who was 38 weeks pregnant. The film poignantly captures this moment, particularly in the performance of Dominique Fishback as Johnson, who displays a stoic demeanor even when threatened by a police officer. Fred Hampton lost his life at just 21, never having the chance to meet his son, Fred Hampton Jr.
“Judas and the Black Messiah” masterfully tells its story. Bill O’Neal is portrayed as an unsympathetic character, and the audience never feels sympathy for him. A clip at the film’s conclusion features the real O’Neal attempting to rationalize his actions in the only interview he ever gave, for the documentary “Eyes on the Prize 2.” Tragically, he took his own life the day the documentary aired. The film’s representation of Fred Hampton and the Black Panther Party is commendable, as they had the support of Hampton’s widow and son, who aim to preserve his legacy. Viewers gain insight into who he was and why his impact was so significant.
This film serves as a vital starting point for individuals looking to learn more about the Black Panther Party, an essential component of the ongoing fight against issues like police brutality. Fred Hampton’s story, like that of many key figures in the struggle for Black empowerment, deserves to be told.
“Judas and the Black Messiah” is available for streaming on HBO Max until March 14.
Summary:
“Judas and the Black Messiah” is a compelling film that explores the life and assassination of Fred Hampton, a key figure in the Black Panther Party, through the lens of his betrayer, William O’Neal. The film highlights the FBI’s efforts to eliminate Hampton, known for his charismatic leadership and radical views, and portrays the tragic consequences of his untimely death. It serves as a crucial narrative that invites viewers to delve deeper into the legacy of the Black Panthers and the ongoing fight for racial justice.
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Judas and the Black Messiah, Fred Hampton, William O’Neal, Black Panther Party, FBI, civil rights, racial justice, film review