Best Pictures #70: 2020 (93rd) Academy Awards Best Picture Nominee: Judas and the Black Messiah

 by A.J.

Best Pictures #70: 2020 (93rd) Academy Awards Best Picture Nominee

Judas and the Black Messiah

“Anywhere there is people, there is power.”

A title like Judas and the Black Messiah tells you not only the kind of relationship the main characters will have but also how it will end. It also sets up the characters as figures of mythic and grand proportions. Fortunately, the approach by director Shaka King, the Oscar nominated screenplay, and the excellent cast emphasize the human elements of this true story. It seems as though everyone involved in making this film knew there was little that they had to do to convey the importance of the story of Chicago Black Panther chairman Fred Hampton and the events that led to his death. This may sound like a heavy film given the subject matter, and at times it certainly is, but, in addition to the people and events depicted, the craft and skill on display in every aspect of the movie make it well worth watching. I was reminded of a Roger Ebert quote: “No good movie is depressing; all bad movies are depressing.” Judas and the Black Messiah is a good movie. 

The film opens with Bill O’Neal (LaKeith Stanfield) finding himself in an unfortunately ironic predicament. He has been caught by the FBI for impersonating an FBI agent in order to steal cars from unsuspecting bar patrons. Now, real FBI Agent Mitchell (Jesse Plemons) offers O’Neal the choice between going to prison or infiltrating the Black Panthers and becoming an informant. O’Neal takes the deal, eventually working his way to becoming the head of security for the Panthers and the driver for Fred Hampton (Daniel Kaluuya). As he passes information to the FBI, O’Neal also comes to believe in the cause of the Panthers and finds himself greatly conflicted. Stanfield has great emotional scenes with dialogue and quiet moments trying to hold back his conflicted emotions. His character is always under stress, always presenting one persona to Hampton and the Panthers and another to the FBI. His betrayal of Hampton is by no means excused, but Stanfield shows us the emotional and mental state of the man driven to it. 

As good as Stanfield is, the real standout is Daniel Kaluuya as Fred Hampton. He captures the confidence and charisma of the 21-year-old activist, but the screenplay also allows us to see him in private moments like him reciting along to a record of a Malcolm X speech to practice his own oratory skills. Dominique Fishback as Debra Johnson also gives a great performance as Hampton’s fiancé. When she first attends a Black Panther meeting, she is immediately captivated and enchanted by Hampton’s speech. Kaluuya’s performance makes her attraction both to his words and his presence easy to understand. His scenes with her allow for quiet, intimate moments that further show this figure from recent history as a real person. Kaluuya is the frontrunner for the Best Supporting Actor Oscar, in part because he is actually a co-lead along with Stanfield, who is also nominated in the Supporting Actor category. 

True stories can make for great films, but great films based on true stories do not necessarily make for great history. I do not doubt the authenticity of the characters or major events depicted or the FBI plot that led to Hampton’s death. I have read and seen enough documentaries to know that J. Edgar Hoover’s FBI was motivated by his serious but mistaken belief that the Civil Rights movement was being controlled by communists and had to be stopped before it destroyed the country (here Hoover is played by Martin Sheen in a performance too small to be especially good or bad, however, his makeup is especially bad). Judas and the Black Messiah is the best kind of based-on-a-true-story film: it engaged me with the story and characters, giving me a real sense of what things were like for them, and it makes me want to learn more about the events and people depicted. The film ends with documentary footage and these short clips actually enhance the emotions of the movie instead of undercutting them. If you already know the story of Fred Hampton and the FBI’s insidious campaign against him and the Black Panthers in the late 1960’s, the reason to watch Judas and the Black Messiah is for the incredible performances from Daniel Kaluuya and Lakeith Stanfield. 

This isn’t just another biopic or a reenactment. At times it plays like a tense thriller in the same vein as Martin Scorsese’s The Departed. At other times it plays like a quiet drama. At every moment we are made aware of the social imbalances and injustices that motivate Hampton and the Panthers and come, too late, to move O’Neal as well. It is unfortunate and frustrating that these social imbalances and injustices are still being dealt with today.  Judas and the Black Messiah comes as close as any movie does to bringing history to life.

Nominee: Shaka King, Charles D. King, Ryan Coogler, producers

Director: Shaka King

Screenplay: Will Berson & Shaka King; story by Will Berson & Shaka King and Kenneth Lucas & Keith Lucas

Cast: Daniel Kaluuya, Lakeith Stanfield, Jesse Plemons, Dominique Fishback

Production Companies: MACRO, Participant, Bron Creative, Proximity

Distributor: Warner Bros. Pictures

Release Date: February 12th, 2021

Total Nominations: 6, including Best Picture

Other Nominations: Supporting Actor-Daniel Kaluuya; Supporting Actor-LaKeith Stanfield; Original Screenplay-Will Berson, Shaka King, Kenneth Lucas, Keith Lucas; Cinematography-Sean Bobbitt; Original Song- H.E.R., D'Mile, Tiara Thomas for "Fight for You"