Judas and The Black Messiah is a great movie. I watched it over the weekend.
It was a struggle (of my own tech handicapped doing) to get access to HBO Max on my TV. And, since I knew this piece of American history, I struggled to brace myself for the traumatic plot. 

But it was worth it. 

The film deals with the infiltration of the Black Panther party by FBI informant William O’Neal. Shaka King directs the brilliant Daniel Kaluuya, LaKeith Stanfied, and Jesse Plommons in lead roles.

I saw a review that seems a little cynical and detracting, in noting that Hollywood only greenlit the film because it focused on the rat perspective. 

I don’t have evidence to cite to the contrary, and it is far from completely implausible given the history of American cinema.

(We haven’t forgotten #OscarsSoWhite!) 

But based on film ‘extras’ interviews with the story writers (Keith and Kenny Lucas), the criticism doesn’t entirely hold up. Storytelling, from William O’Neal’s perspective, was researched, intentional (and quite entertaining, novel, and savvy, if I might add).
It showcases the complexity of O’Neal without, in any way, elevating or accepting him. He is still, undoubtedly, the hated villain of his own making. Here you just get a peek at his making and molding in the hands of his blue bedfellows. 

Even billing the film as a spy movie, the twisted plot can’t detract from the powerful backdrop of Chairman Hampton or the Illinois chapter of the Black Panther party at this time. They sit squarely front and center. 

Furthermore, the viewer still walks away hating O’Neal and racist, blood-thirsty, murderous law enforcement who stoked conspiracies and slayed black leaders. 

No matter the disagreement about how the film was funded, I think we would all agree that we’re glad it was. 

The film leaves us with a bit more appreciation and pride in the #BlackExcellence found in the artistry of black (Hollywood) creatives and in the bravery of the visionary youth of the Illinois chapter and the Chairman. 

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