2020 seems like a decade ago. Yet, somehow it still remains fresh within our memory. Sure, a year can offer up many different events. To quote Doctor Manhattan, events so small that they could be argued to have never happened at all. For me personally, I feel what challenged me most was the civil unrest of last year’s summer. Talking to colleagues throughout the news of the protests and riots, I came to a point where I realized how ignorant I really was, and to some extent still am, and how conditioned my narrative of history had become. We teach on civil rights heroes like Malcolm X, Dr. Martin Luther King Jr., and Rosa Parks because, to an extent, they feel safe. The narrative can still showcase some of history, but keep to the bright parts we wish to remember, and likewise what we choose to teach future generations. 

Such conditions have blinded me from historical events like the 1921 Tulsa Massacre and people like James Baldwin, Huey P. Newton, and Bobby Seale. Last year we did a series on the Tulsa Massacre. During that coverage, we interviewed a gentleman who both grew up in Oklahoma and wrote a book on the historical tragedy. While he was in school during the 50s, he nearly got a teacher fired because he dared to ask about them. Why? Because history wants to control the narrative to establish the white savior complex. During my education I was introduced to the writings of James Baldwin. Baldwin is without a doubt one of the most profound writers I have ever read. The Fire Next Time was one of my favorite books that I read last year. Baldwin is a name that often gets left out of the civil rights conversation. 

Then you have influential men like Huey P. Newton and Bobby Seale, who founded the Black Panther party in the late 60s. Up until a few weeks ago, that party had always been more vigilantes more than anything else, at least to my knowledge. I didn’t know any better. Thanks to the 1971 documentary, The Murder of Fred Hampton, and Joshua Bloom and Waldo. E. Martin Jr.’s book, Black Against Empire: The History and Politics of the Black Panther Party - I have a newfound knowledge and appreciation for another piece of our unspoken history. The realization dawned on me during the process about who the Black Panther party really was. These were men and women seeking racial unity and stepping into communities to mend brokenness. The bottom line is I’m grateful to see the story of Fred Hampton, a chairman of Chicago’s Black Panther party, brought to the big screen in Judas and the Black Messiah. 

Judas tells the story of Bill O’Neal (LaKeith Stanfield) who cuts a deal with the FBI to infiltrate Chicago’s Black Panther Party in order to get close to Fred Hampton (Daniel Kaluuya) in order to ultimately bring down the party. This isn’t the first time we’re seeing Stanfield and Kaluuya opposite one another. We have Jordan Peele’s Get Out to thank for that. Unlike their previous outings, the two actors completely lose themselves within their real life counterparts. The film ends with brief archive footage of the real William O’Neal. Stanfield portrays the mannerisms and complex emotions of O’Neal with terrific accuracy. Not to be outdone, Kaluuya almost steals the show with his transformative performance as Hampton. Kaluuya disappears into the role of the activist. From his dialect to his movements, Kaluuya utterly transforms himself, delivering the best performance we’ve seen from the actor to date.

Throughout the film there are characters within the Black Panther party that we meet. Ashton Sanders and Algee Smith would be among this list of characters. I found myself going back and forth with how the narrative would use them. We spent time with them but never really got to know them or see them grow. They come across very one note.The more I reflected on these narrative choices, the more I understand why these characters were so important. This decision transforms this movie from a biopic and period piece to a relevant piece of cinema that challenges us to understand the impact of people like Jimmy Palmer and Jake Winters. There may be some viewers who disagree with me, but these plot decisions help the film to carry weight and remain relevant for us in our current political climate.

Biopics are sometimes the hardest genre to bring to the screen. As a storyteller, how do you bring an entire lifetime into a two hour story that is compelling and cohesive? Some biopics fail to deliver a cohesive narrative while others bring messy storytelling. Worse yet, the writer manages to make the subject come across as one dimensional. Co-writer and director Shaka King demonstrates a profound understanding of both Hampton and O’Neal and how their stories intertwine. King manages to bring an immense depth to Hampton’s arc throughout the two hour film with his signature revolutionary views but also shows his intimate side with his close colleagues. Some of the film’s best moments are scenes between Kaluuya and Dominique Fishback, who plays Hampton’s girlfriend and mother of his child Deborah Johnson. Fishback and Kaluuya have marvelous chemistry between one another. 

Overall, Judas and the Black Messiah is an incredible piece of cinema. The transformative performances from Daniel Kaluuya and LaKeith Stanfield help Judas to establish itself as a benchmark for modern cinema. Both actors lose themselves within their roles, taking on the very essence of the men they portray. The rest of the cast is top notch, from Jesse Plemmons to Dominique Fishback - there is not a single performance that is wasted here. Every ounce of this narrative is delivered with thoughtful consideration that makes Judas and the Black Messiah art of the highest degree.

RORSHACH RATING:

Mental Health Moment: Fred Hampton’s story is a harrowing tragedy and his biopic is no different. It’s all the more tragic to consider how young he was when he died in 1968. Having done a deep dive, in preparation for Judas, Hampton has become an inspiration for me. There are sequences throughout the film which shake misconceptions about the Black Panther party but give gravity to a greater revelation: Hampton dreamed of a world of equality, as most of us do. Judas has helped establish a greater yearning to grow in that respect.

Hampton was a man of action. The film showcases him going into areas of Chicago where he wasn’t always welcomed. He was a man of strategy and action. He wasn’t afraid to take risks if it meant closing on the end goal. I’m curious, what have some of us who want to see equality done to achieve the goals that Hampton spoke of? I’ll be vulnerable and say that for me personally it’s been about deepening my understanding of my own ignorance and discovering the true side of history that has been lost to the history books. It’s about being more intentional with the content that we put out and using this platform to educate and inform. Racism keeps us segregated and divided, ultimately hurting our mental health. Judas & the Black Messiah challenges us to grow and strive for unity.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Judas and the Black Messiah is property of Warner Brothers Pictures. We do not own nor claim any rights.

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