“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, that timing would have been fitting. This film stands out as one of the initial mainstream narratives focused on the Black Panther Party, a pivotal Black political organization that emerged in the 1960s. Kaluuya portrays Fred Hampton, the Chairman of the Chicago chapter, who was tragically murdered by the government during his peak influence. Stanfield plays William O’Neal, the individual who betrays Hampton and the Panthers, directly contributing to Hampton’s demise.
While the film highlights the impact of Fred Hampton, it largely centers around Bill O’Neal. It effectively illustrates the FBI’s relentless pursuit to eliminate Hampton. O’Neal, a career criminal impersonating FBI agents to steal cars, agrees to infiltrate the Black Panther Party to avoid jail time. After viewing the film, one might wonder if he would have been better off facing prison. He ingratiates himself with Hampton, using an FBI-issued vehicle to transport members. Although his loyalty is questioned early on, he manages to gain their trust, leaving audiences contemplating whether he ever truly believed in the Party’s mission. The film keeps the audience guessing.
I might not be deeply religious, but I understand the concept of Judas betraying Jesus. The analogy of O’Neal as the Judas to Hampton’s Jesus is striking. O’Neal earns Hampton’s trust, only to hand him over to the authorities. Instead of a kiss, he provides the FBI with a detailed layout of Hampton’s apartment, hastily fleeing before the police storm in with guns blazing. Fred Hampton was killed in his sleep, unable to defend himself.
For those unfamiliar with this historical moment, “Judas and the Black Messiah” prompts an important question: Who was Fred Hampton, and why did FBI director J. Edgar Hoover label him as “the greatest threat to the internal security of the country?”
In discussions surrounding the Civil Rights Movement of the 1960s, names like Dr. Martin Luther King Jr. and Malcolm X frequently dominate the narrative. Yet, many other figures played crucial roles. The Black Panther Party aimed for more than just equality with white Americans; they sought to empower and uplift the entire Black community. They were known for initiatives like free breakfast and medical programs, actively engaging with the community rather than preaching from a pulpit.
Fred Hampton, who became the Chairman of the Chicago chapter of the BPP at just 20, was not only intelligent but also charismatic and eloquent. His ability to connect with audiences was evident in archival footage, and Daniel Kaluuya brilliantly captures Hampton’s essence, balancing gravitas with youthful energy. This captivating presence alarmed the FBI, prompting them to view him as a significant threat. During his leadership, Hampton successfully united various marginalized groups, including the Young Lords and the Young Patriots, showcasing his vision for collective liberation.
The film juxtaposes scenes of Hampton with those of Hoover and the FBI agents targeting him. Like Malcolm X and Dr. King, Fred Hampton was on the FBI’s radar due to his radical views. The U.S. government classified the Black Panthers as a terrorist organization, fearing their growing influence could lead to a radical shift in power. Through their COINTELPRO program, the FBI infiltrated organizations like the Panthers, using informants like O’Neal to dismantle key figures.
Despite the FBI’s collaboration with the Chicago police, Hoover demanded more aggressive action. In one scene, he confronts the agents overseeing Hampton, emphasizing the need to eliminate him. The chilling reality is underscored when agents, under Hoover’s directive, seek a blueprint of Hampton’s residence, showcasing their determination to eradicate any threat.
On December 4, 1969, in the early hours, a heavily armed contingent of Chicago police officers raided the apartment where Hampton and others were staying. While many Panthers sustained injuries, only two lost their lives: Fred Hampton and Mark Clark. Hampton, having been drugged by O’Neal, was killed in his sleep beside his pregnant fiancée, Deborah Johnson. The scene in “Judas and the Black Messiah” is haunting, particularly through the portrayal of Johnson, who remains stoic even as a gun is pointed at her stomach. Tragically, Fred Hampton was just 21 years old and never met his son, Fred Hampton Jr.
“Judas and the Black Messiah” masterfully narrates the story it sets out to tell. Bill O’Neal is presented as an unsympathetic character, eliciting no empathy from viewers. In a striking conclusion, we see the real O’Neal attempting to rationalize his involvement in Hampton’s murder in the only interview he ever gave, which aired for the documentary “Eyes on the Prize 2.” He died by suicide the day the documentary was released. The film’s portrayal of Fred Hampton and other Black Panther members is further enriched by insights from Hampton’s widow and son, whose mission is to honor his legacy.
This film serves as a powerful introduction to the legacy of the Black Panthers, a group essential to the ongoing fight against police brutality. Fred Hampton, along with other vital figures in the struggle for Black empowerment, should have remained with us. His story is crucial and deserves to be shared, making this film a significant first step in that direction.
“Judas and the Black Messiah” is available for streaming on HBO Max until March 14th.
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Summary: “Judas and the Black Messiah” is a compelling film that highlights the betrayal of Fred Hampton by William O’Neal while illustrating the larger historical context of the Black Panther Party. It emphasizes the significance of Hampton’s activism and serves as a reminder of the ongoing struggles for justice and equality.