OSCARS 2021: Judas and the Black Messiah (2020)

Racism is a part of American culture and history. The events of the last few years have caused more and more people to reckon with this. This has, unavoidably, influenced the kind of movies that get made and released. Because the more things change, the more they stay the same, several prominent filmmakers in 2021 decided to reflect on the present by looking back at the past. Shaka King's “Judas and the Black Messiah” is set in-and-around the same time and place as the previously reviewed “Trial of the Chicago 7.” The historical events that inspired that film are even referenced in-passing, in this one. I'm not sure what greater significance that has but it felt like something worth noting. 

In late sixties Chicago, Bill O'Neal is arrested for stealing a car. His technique, of dressing up like an FBI agent with a fake badge and acting like he's taking back a stolen car, impresses Special Agent Roy Mitchell. Mitchell gives O'Neal an ultimatum: Either go to jail or become the FBI's undercover man in the Black Panther Party. The Bureau is interested in Fred Hampton, the leader of the Illinois chapter. O'Neal quickly earns the Panthers' trust and becomes Hampton's head-of-security. He reports back to the government as racial violence escalates throughout the city, the Panthers being targeted more and more. Soon enough, O'Neal indirectly leads to the assassination of Fred Hampton.

“Judas and the Black Messiah” is a searing depiction of historical injustice. It takes us inside the Black Panthers and shows them as an explicitly socialist organization primarily interested in reaching out to and uniting marginalized people against those in power. Hampton encourages respect for women. He connects with the Latino community and underprivileged white people. Holding food drives for kids is one of their main activities. King's film also succinctly depicts the forces of oppression. Police set up shop outside the BPP headquarters, spewing racist nonsense from loud speakers until they get a reaction. FBI agents and cops speak of black people as if they are alien others. The film's most chilling scene has J. Edgar Hoover outline the motivations of his choices, which is nothing short of pure white supremacy. The government conspires to divide, undermine, and kill the leaders in the black community. Yeah, it's a movie and probably didn't happen exactly like this. But it happened sure someway close to this.

“Judas and the Black Messiah” works especially well because it finds an interesting angle from which to tell this story. William O'Neal is a rat in way over his head. Whether he has any political convictions of his own is largely left up to interpretation, though money motivates him to keep going. He has nightmares about being found out and killed. One of the film's most intense moment is an encounter with another possible undercover agent, the validity of which leaves O'Neal horrified. While undercover, he's shot at and threatened on numerous occasions. Soon, he wants out but he realizes his life is in just as much danger if he goes. The film puts us right in the mind of this man, trapped by circumstances and too terrified to do the right thing. He's a terrible person but his actions are understandable. 

This story is brought to life by some wonderful performers. Daniel Kaluuya is fiery and impassioned as Hampton but also compassionate. Kaluuya depicts the man as a skilled orator, specialized in connecting with people. LaKeith Stanfeld plays O'Neal as perpetually terrified, someone wearing multiple masks and playing to several different audiences. He does a great job of depicting those different layers. Dominique Fishback, who really should've been nominated, plays Hampton's girlfriend as a woman brilliantly torn between the man she loves and the cause he's willing to die for.

Stanfield certainly seems to be the lead of the movie. For some reason, the Academy nominated both him and Kaluuya for Best Supporting Actor. This decision does, perhaps, represent the film's biggest weakness. “Judas and the Black Messiah” leaps around in time and place a lot. O'Neal is the main character in most scenes but Hampton is the protagonist in just as many. The script follows multiple characters in different directions. Sometimes, it cuts between these storylines without really establishing what's going on. The script covers a lot of ground and the viewer gets a little lost at times. 

Shaka King – who also really should've been nominated – directs the movie in an incredibly intense fashion too. When the violence happens in the film, it hits with an incredible impact. I'm not sure how King didn't get nominated when the movie's script, with its somewhat awkward narrative construction, did. Either way, the film singles a bold and powerful new filmmaker. It compellingly tells a story that needs to be told, depicting a time that mirrors our own in a lot of ways. [8/10]