L'histoire de Fred Hampton, président du Black Panther Party en Illinois, et la trahison fatidique de l'agent infiltré du FBI William O'Neal.L'histoire de Fred Hampton, président du Black Panther Party en Illinois, et la trahison fatidique de l'agent infiltré du FBI William O'Neal.L'histoire de Fred Hampton, président du Black Panther Party en Illinois, et la trahison fatidique de l'agent infiltré du FBI William O'Neal.
- Réalisation
- Scénario
- Casting principal
- Récompensé par 2 Oscars
- 45 victoires et 85 nominations au total
Avis à la une
The FBI, led by J. Edgar Hoover, is focused on taking down the Black Panther Party and other leftist movements. Agent Roy Mitchell (Jesse Plemons) pushes car thief Bill O'Neal (LaKeith Stanfield) to be his informant and to infiltrate the Illinois chapter of the Black Panther Party. It is led by charismatic Chairman Fred Hampton (Daniel Kaluuya) who is trying to improve Chicago and battle the racist police force.
There is an obvious connection to today's events. It's of its time and the present-day time. It's definitely taking a point of view but one can't really argue against it. For sure, it's slanted. Roy Mitchell is the key to finding balance but Jesse Plemons doesn't give him enough depth. He has one fascinating talk about Emmett Till. That's an interesting road to go for that character but it feels like he stops short. He turns into just another callous racist cop when he could be deeper. As for the other characters, Stanfield is the standout and Kaluuya is the saint. Both are great in their roles. This is a very compelling story and its relevance makes it more powerful.
There is an obvious connection to today's events. It's of its time and the present-day time. It's definitely taking a point of view but one can't really argue against it. For sure, it's slanted. Roy Mitchell is the key to finding balance but Jesse Plemons doesn't give him enough depth. He has one fascinating talk about Emmett Till. That's an interesting road to go for that character but it feels like he stops short. He turns into just another callous racist cop when he could be deeper. As for the other characters, Stanfield is the standout and Kaluuya is the saint. Both are great in their roles. This is a very compelling story and its relevance makes it more powerful.
When I saw "The Trial of the Chicago 7" less than a year ago, I commented that there was likely a more interesting movie to be made about Fred Hampton. Well, here it is! This film avoids all the traps of traditional biopics. Its tight timeline and electric performances distinguished it from similar stories that wind up feeling like nothing more than historical dramatization. I knew how this movie would end. I knew the basic story of the main character. And yet I hung on every moment. Kaluuya is that good, and Stanfield is that good. More importantly, the filmmakers are smart enough to figure out that this could be a story of betrayal, advocacy, loyalty, and fear...something that transcended one person's story. What results is something both universal and uniquely relevant to the present day. This movie deserves whatever awards it wins.
The two main acting performances really carry this film. Kaluuya and Stanfield both do tremendous work and make this film a compelling watch. It's a tough. depressing movie to watch, but it feels appropriately timed with its release. It's inevitable to compare this to another recent film containing some of the same characters, The Trial of the Chicago 7. While Chicago 7 is a more enjoyable watch and really zips along with energy, Judas is more unflinching in its reality and less "Hollywood." This isn't to say there aren't the typical story beats you expect in a film like this, but it overall feels more impactful.
I haven't written a review in awhile, but felt compelled to do so because numerous reviews complaining about the movie as some sort of failed Fred Hampton biopic...
The movie is titled JUDAS and the Black Messiah, in which we should all be able to discern who's whom, and understand why the movie isn't just about Fred Hampton, so all of you with your fake woke-ness can stop talking about how shallow this movie is or how they didn't do enough, and then counterintuitively discredit this accomplishment of a film about an important part of the U.S. history!
I had no idea any of this actually happened, so it's great that a film was made about this. This is a powerful film that I would highly recommend.
Director Shaka King on 'Judas and the Black Messiah'
Director Shaka King on 'Judas and the Black Messiah'
IMDbPro teamed up with the Sundance Film Festival to spotlight some of the talented artists at the 2021 festival. Learn more about Judas and the Black Messiah and the artist behind the camera, Shaka King, in our spotlight interview series.
Le saviez-vous
- AnecdotesDirector Shaka King has described the initial idea for the film as "Les Infiltrés (2006) inside the world of COINTELPRO (Counter Intelligence Program)." He thought it was a clever way to "sort of Trojan-horse a Fred Hampton biopic and introduce the world, you know, a great segment of the world who is unaware of who he was, and is highly unaware of the Panthers' politics and ideology."
- GaffesThe movie's ending sequence includes an information card implying that William O'Neal committed suicide after his PBS interview aired, on 15 January 1990. That isn't accurate. The PBS series 'Eyes on the Prize' did debut on that date, but the O'Neal interview did not air until 9 February, three and a half weeks after O'Neal's suicide. No one knows why O'Neal chose kill himself on 15 January, and his family disputed that his traffic fatality was a suicide. They claimed it was an accident.
- Citations
Fred Hampton: Politics is war without bloodshed while war is politics with bloodshed
- Bandes originalesThe Inflated Tear
Written by Rahsaan Roland Kirk
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Judas y el mesías negro
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 26 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 5 478 009 $US
- Week-end de sortie aux États-Unis et au Canada
- 2 027 076 $US
- 14 févr. 2021
- Montant brut mondial
- 7 478 009 $US
- Durée2 heures 6 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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