Judas and the Black Messiah (discussion)

arnoldwsimmons

Rising Star
Platinum Member
The secret FBI informant who betrayed Black Panther leader Fred Hampton

The new movie ‘Judas and the Black Messiah’ explores the role William O’Neal played in Hampton’s death
th

William O'Neal, the FBI informant who infiltrated the
Black Panthers in Illinois, circa February 1973. (Don Casper/Chicago Tribune)
By Robert Mitchell


Feb. 20, 2021 at 6:00 a.m. CST

William O’Neal’s secret life came to an end three years after the Chicago police raid that killed charismatic Black Panther leader Fred Hampton.

In a front-page story on Feb. 3, 1973, the Chicago Tribune identified O’Neal, the onetime Black Panther security chief, as an informant who aided the FBI in an investigation of a murder ring operated by current and former members of the Chicago Police Department.

“In addition to being the key government tipster in the case," the Tribune reported, O’Neal “may have witnessed one of the slayings last May of two men who allegedly were killed by policemen and former policemen.”

Attorney Jeffrey Haas reacted with amazement that morning as he read the story and studied an accompanying photo of O’Neal. The details of the piece were disturbing enough, but Haas had another reason for astonishment.

Haas represented the Black Panthers in court after confrontations with local law enforcement in the 1960s. He was one of the attorneys leading a $47 million civil suit against the city of Chicago, Cook County and the U.S. government on behalf of family members and survivors of the Dec. 4, 1969 raid in which Hampton, 21, and Mark Clark, 22, died.

Haas had known O’Neal for years — or thought he did.

“Could the guy I knew with the disarming smile and casual attitude be involved in murder for hire?” Haas recalled wondering in his book on the Black Panther raid and its aftermath. “More important, did he drop the dime on Fred?”

The answer, recounted in the film “Judas and the Black Messiah”, was yes. The film captures Hampton’s dedication, eloquence, occasionally violent rhetoric and commitment to Black empowerment. O’Neal struggles with his dual role as a party member and FBI informant as he becomes increasingly sympathetic to the Panthers and their leader.

The film reaches a grim climax with its depiction of the predawn raid in which Chicago police assigned to the office of Cook County State’s Attorney Edward V. Hanrahan burst into a first-floor apartment on West Monroe Street.

Inside, they unleash the withering gunfire that claimed the lives of Hampton and Clark and injured six others, including two officers. A grand jury report after the raid concluded that virtually all of the gunfire during the raid came from police.

Hanrahan claimed hours after the raid that officers fired in response to “the immediate, violent, criminal reaction of the occupants in shooting at" the police. Bobby L. Rush, then the minister of defense for the Panthers and today a Democratic congressman from Chicago, declared “We’ll prove it to the world that Fred Hampton was murdered.”

Rush’s assertion resonated with many in the Black community who believed Hampton died because of a government plot against the Panthers.

“If the United States is successful in its drive to crush the Black Panther Party, it won’t be long before it seeks to crush your party,” the Rev. Ralph David Abernathy of the Southern Christian Leadership Conference warned at Hampton’s funeral.

th

Black Panthers leader Fred Hampton

No one at the time suspected O’Neal of betrayal, but in the days leading up to the raid he supplied the FBI with a diagram of the apartment used in the raid by police. Even so, O’Neal seemed shocked by the death of Hampton and the scene in the apartment, O’Neal’s uncle Ben Heard told the Chicago Reader in 1990.

“There was papers strewn all over the floor, blood all over," Heard said. "There was a trail of blood from where they had dragged Fred’s body. Bill just stood there in shock. He never thought it would come to all this.”

The tangled story of O’Neal and the Panthers began in the summer of 1967, according to court documents, when O’Neal was 17 and the FBI launched its COINTELPRO program aimed at undermining Black militants. Files discovered by antiwar protesters who broke into an FBI office in Pennsylvania included a memo from FBI Director J. Edgar Hoover ordering agents to “disrupt, misdirect, discredit, or otherwise neutralize” militant groups, Haas wrote.

When the Black Panthers opened a branch in Chicago in November 1968, the “Chicago FBI was quick to implement the tactics mandated by Washington,” according to the lawsuit filed by Haas and his colleagues. FBI Agent Roy M. Mitchell instructed O’Neal — whom he had initially contacted while O’Neal was in the Cook County jail — to infiltrate the fledgling militant group, according to the lawsuit.

At first, O’Neal ran errands and handled odd jobs. “He was basically a flunky, gofer and handyman,” Rush told the Tribune.
O’Neal eventually assumed security responsibilities for the Panthers while keeping the FBI apprised of Panther activities. After he learned that the Panthers contemplated a merger with the Blackstone Rangers gang, the FBI concocted an anonymous letter sent to Rangers leader Jeff Fort warning “that the Panthers had a ‘hit’ out on him,” the lawsuit said.

th

Chicago police remove the body of Fred Hampton, leader of the
Illinois Black Panther Party, who was slain in a gun battle with police on Dec. 4, 1969.


While O’Neal said he respected Mitchell, he insisted to the Tribune that he grew to admire Hampton and the Panthers. “These guys started impressing me a little more than Mitchell did,” O’Neal said of the Panthers. “They started talking about Black struggle and Black rights, and their whole program seemed to make sense.”

O’Neal said he argued with Mitchell about the Panthers and their goals but still fed the FBI information.

“I felt proud being on the law enforcement side,” O’Neal told the Tribune. “But I really was just a pawn in a very big game.”

The game ended for O’Neal after the 1973 Tribune exposé. He moved to California after entering the federal witness protection program but struggled with his new life and split up with his wife, according to the Tribune. “If you ask me if I’m a happy man — no, I’m not happy. I’m not even content,” he told the newspaper.

O’Neal remarried and returned to Chicago in the 1980s — published reports differ on when — with his new wife and became a father, the Tribune reported. Interviewed for the 1990 documentary series “Eyes on the Prize II,” O’Neal declined to describe himself as a hero, then added, "at the same time I don’t feel ashamed.” But he never came to terms with the implications of his double life, Heard said.
O’Neal died early in the morning on Jan. 15, 1990, after bolting out of Heard’s apartment and into traffic on the Eisenhower Expressway. The Cook County Medical Examiner ruled his death a suicide.

“I think he was sorry he did what he did," Heard told the Reader. "He thought the FBI was only going to raid the house. But the FBI gave it over to the state’s attorney and that was all Hanrahan wanted. They shot Fred Hampton and made sure he was dead.”
 

Tdot_firestarta

Rising Star
BGOL Investor
I said i was gonna wait to see this in the theatre , but after a couple days I couldnt any longer...had to pay for this and watch it on amazon prime

Amazing film...great acting all around...great cast, cinematography, pacing. Nice touch with clips from eyes on the prize 2 serving as bookends to the film
I'm gonna have to rewatch this
 

playahaitian

Rising Star
Certified Pussy Poster

The Last Hours of William O'Neal
He was the informant who gave the FBI the floor plan of Fred Hampton's apartment. Last week he ran onto the Eisenhower Expressway and killed himself.
By Michael Ervin
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William O'Neal spent the last few hours of his life with his uncle Ben Heard, a retired truck driver from Maywood. It was Martin Luther King Day.
"We were just sitting around drinking beer," Heard recalls, "talking to some friends of mine. We had company. The company left and that's when he started acting kind of strange."

At 2:30 AM the 40-year-old O'Neal ran out of his uncle's apartment, across the westbound lanes of the Eisenhower Expressway, and was struck by a car and killed. His death was ruled a suicide.

O'Neal achieved lasting infamy in 1973 when his role in the 1969 raid in which Black Panther leaders Fred Hampton and Mark Clark were murdered was revealed. Though O'Neal was a Panther insider to the point where he was in charge of security for Hampton and possessed keys to Panther headquarters and safe houses, he was at the same time serving as an informant for the FBI. Among the information the teenaged O'Neal fed his FBI contact was the floor plan of Hampton's west-side apartment that was used to plan the fatal raid. After his cover was blown O'Neal entered the federal witness protection program, assumed the alias William Hart, and moved to California. He secretly returned to Chicago in 1984.
So not all who knew O'Neal will mourn. But Heard, who says he knew O'Neal as well as anyone, depicts his nephew as a young man who cooperated with the FBI to reduce his own potential jail time, then got in way over his head and was forever tortured by the guilt.

After their drinking buddies left in the early-morning hours of King Day, Heard became worried when O'Neal kept getting up to go to the bathroom. "He'd stay in there 10 or 15 minutes. The last time he stayed 20 minutes. He came out in a rage and he tried to jump out my living room window [which is on the second floor]. I stopped him. I grabbed him by the ankles. I wrestled with him but he broke free and he ran out the door.
"I just had my house shoes and pants on. I couldn't run after him like that. I couldn't have caught him anyway. There was a woman standing in front of the house and she said, 'Lord, it sounds like somebody got hit on the expressway!'"

Heard ran to the ridge of the grassy slope and looked below to the Eisenhower, where he saw a prone body and a car with a broken windshield parked on the shoulder. The state police were already on the scene. When Heard got a close look at the body with his flashlight, his worst fears were confirmed. "The impact had torn the back of his shirt and pants off. His eyes were open. I took his pulse and it was hardly anything." After O'Neal was taken away Heard sat in the trooper's car and listened to the deeply shaken driver tell how O'Neal had jumped out in front of him waving his arms. He tried to swerve, but it was too late.

Heard had seen O'Neal gripped by this rage once before. It was last September, when O'Neal ran out onto the Eisenhower and was struck but only injured. Heard says, "I ran out on the street but I didn't know which way he went. About 15, 20 minutes later I heard an ambulance and I said, 'I hope it's not Bill.' I called the emergency room and it was."

Heard said O'Neal never wanted to talk about the incident. He never said why he did it or if coming so close to death had taught him anything. "But I never thought he would do it again, since he came so close," Heard says. "I never thought he was suicidal."

Heard learned of O'Neal's secret shortly after Hampton's death. "I thought about some of the things he did and said. I asked him, but he denied it." But later O'Neal told his uncle that he'd been in trouble for everything from car theft and home invasion to kidnapping and torture. "He said they had someone tied up and they were pouring hot water over his head. They were trying to get him to do something." So an FBI agent told O'Neal he would take care of it all in exchange for his infiltrating the Panthers.

"I think he was sorry he did what he did. He thought the FBI was only going to raid the house. But the FBI gave it over to the state's attorney and that was all Hanrahan wanted. They shot Fred Hampton and made sure he was dead."

Heard says he was with his nephew the morning after the ambush when he saw the inside of Hampton's apartment. "There was papers strewn all over the floor, blood all over. There was a trail of blood from where they had dragged Fred's body. Bill just stood there in shock. He never thought it would come to all this."
 

^SpiderMan^

Mackin Arachnid
BGOL Investor
I liked it.
There were some things that I think could have been better but overall it was a good movie. An important detail is when they showed that there were multiple agents that infiltrated the Panthers. The FBI used sneaky and fucked up tactics.

Supposedly the Panthers that introduced Crack and the Gun connect were informants. Neither were black either.
 

durham

Rising Star
Platinum Member
Good movie, not great. Too much time on the rat. Flip the emphasis onto Hampton and this would have been an all-time movie. The two leads were too old, and it was distracting. Kaluya missed on replicating the sound of Hampton's voice.

The best part for me was how they showed the humanity of Panthers, the dedication they had to each other, the community and to the family. The intimacy between Hampton and his girlfriend was done very well, especially the end. Also the dead cops, getting blasted over and over was fine by me:thumbsup::bravo:

Glad they were able to show how much was lost when this brother was assassinated. RIP
 

dik cashmere

Freaky Tah gettin high that's my brother
BGOL Investor
@playahaitian :angry:


"Judas and the Black Messiah" has far too much in common with "The Departed." Obviously, director Shaka King's film centers on Black characters, while Martin Scorsese's Boston-set entry does not. But the general concept — a crime thriller about a man covertly working with law enforcement who infiltrates a group considered to be their threat, to eviscerate its strongest force — is the same.

It's an awkward comparison to make because, in actuality, these films shouldn't have many similarities. "Judas and the Black Messiah" details the story of William O'Neal's (LaKeith Stanfield) ascent through the Black Panther Party as an informant for a racist FBI that offers him an awful ultimatum: help them take down party chairman Fred Hampton (Daniel Kaluuya) or go to jail. It's 1966 Chicago, and William, a Black man and petty criminal, has just been busted for impersonating an FBI agent in an attempt to steal cars. Prison could mean death for him, but being a silent "Uncle Tom" for "the man" presents another kind of moral confinement.

There's a specificity to these real-life events and people. Fred isn't merely a powerful, somewhat imperious male figure who cops will stop at nothing to disable. He's a vocal leader of an organization built on the mission of equality for Black people in a country that routinely stalks and oppresses them. William, mostly referred to as Bill throughout the film, is a man that is a bit on the peripheral of that movement, having to depend on crime to survive a system where white and mostly male law officials target Black bodies for any and no reason at all. He makes ill-fated decisions in a lose-lose situation.


But these nuances are lost in King's efforts. It is already a peculiar choice to turn this story, which rarely gets the film treatment, into a caper movie. It's not an entirely preposterous idea, though, considering the opposing nature of the male protagonists, the impending presence of cops and the surreptitious events that culminate with Fred's assassination in 1969.

Still, Bill and Fred—and the landscape in which they live—are too wanly drawn even to produce the type of thrilling entertainment that could also be compelling in its politics.

That's odd, since there is quite a bit of information available on the two individuals and especially the Black Panther Party, barring any inevitably classified FBI case files. And Fred's son, Fred Hampton Jr., the president and chairman of the Prisoners of Conscience Committee and the Black Panther Party Cubs, is credited as a cultural expert on "Judas and the Black Messiah." But the film offers very little particularities when it comes to examining who Bill and Fred were and the world the former was especially fighting.

Bill certainly faced internal conflicts, effectively depicted through Stanfield's unspoken dialogue, like a subtle wince, a nervous smile or a tremulous power fist at a usually nondescript rally. Because his narrative had to be insular, it would have helped if King, who also co-wrote the screenplay with Will Berson, included some information on his family or interior life — even if it was only a contrived encounter with a familiar face. But we're left with a resounding question: Who was Bill O'Neal?


Fred is even more of an enigma in "Judas and the Black Messiah," and he is arguably the more well-known figure between the two. His voice, one that also represents a generation, is reduced to soundbites like "I am … a revolutionary!" which roars in the movie trailer. Kaluuya has proven once again that he is a master of the manic yet quiet ferocity he showed us in both "Widows" and "Get Out," which he duplicates in King's film in a blur of frustratingly indistinct speeches at events and more frantic scenes opposite Stanfield. But we don't learn much about Fred's humanity. He put his body on the line every day for his people, even completing a prison sentence that is almost entirely glossed over in the film. Was he ever scared?
There's only one time that the film dares even to approach this question. It's through Dominique Fishback's heartfelt portrayal of Deborah Johnson (now known as Akua Njeri), Fred's girlfriend, who was nine months pregnant at the time of his murder. With a swollen belly, she asks him whether power to the people was worth the nights in jail or even potentially his death. His only response is: "When I dedicate my life to the people, I dedicate my life."
Though Fishback, like her male counterparts in the film, rises above her uninspired characterization, especially in the film's devastating final moments, the screenplay constrains her performance. As a result, Deborah comes dangerously close to being diminished as the trope of the concerned girlfriend in a male-driven crime thriller.
Despite impressive performances, "Judas and the Black Messiah" has very little to say. Like its character, Bill O'Neal, the film seems often to be at war with itself. Does it want to be a gripping Hollywood crime thriller that just so happens to center people either confronting or constricting the racial revolution of the 1960s? Or does it want to be a political drama that investigates the psychology of Judas and messiah figures within the Black community?
Regardless, it does neither very well.

Candice Frederick
Candice Frederick is a freelance TV and film journalist living in New York City. You can find more of her work here and follow her on Twitter: @reeltalker.
 

playahaitian

Rising Star
Certified Pussy Poster
@playahaitian :angry:


"Judas and the Black Messiah" has far too much in common with "The Departed." Obviously, director Shaka King's film centers on Black characters, while Martin Scorsese's Boston-set entry does not. But the general concept — a crime thriller about a man covertly working with law enforcement who infiltrates a group considered to be their threat, to eviscerate its strongest force — is the same.

It's an awkward comparison to make because, in actuality, these films shouldn't have many similarities. "Judas and the Black Messiah" details the story of William O'Neal's (LaKeith Stanfield) ascent through the Black Panther Party as an informant for a racist FBI that offers him an awful ultimatum: help them take down party chairman Fred Hampton (Daniel Kaluuya) or go to jail. It's 1966 Chicago, and William, a Black man and petty criminal, has just been busted for impersonating an FBI agent in an attempt to steal cars. Prison could mean death for him, but being a silent "Uncle Tom" for "the man" presents another kind of moral confinement.

There's a specificity to these real-life events and people. Fred isn't merely a powerful, somewhat imperious male figure who cops will stop at nothing to disable. He's a vocal leader of an organization built on the mission of equality for Black people in a country that routinely stalks and oppresses them. William, mostly referred to as Bill throughout the film, is a man that is a bit on the peripheral of that movement, having to depend on crime to survive a system where white and mostly male law officials target Black bodies for any and no reason at all. He makes ill-fated decisions in a lose-lose situation.


But these nuances are lost in King's efforts. It is already a peculiar choice to turn this story, which rarely gets the film treatment, into a caper movie. It's not an entirely preposterous idea, though, considering the opposing nature of the male protagonists, the impending presence of cops and the surreptitious events that culminate with Fred's assassination in 1969.

Still, Bill and Fred—and the landscape in which they live—are too wanly drawn even to produce the type of thrilling entertainment that could also be compelling in its politics.

That's odd, since there is quite a bit of information available on the two individuals and especially the Black Panther Party, barring any inevitably classified FBI case files. And Fred's son, Fred Hampton Jr., the president and chairman of the Prisoners of Conscience Committee and the Black Panther Party Cubs, is credited as a cultural expert on "Judas and the Black Messiah." But the film offers very little particularities when it comes to examining who Bill and Fred were and the world the former was especially fighting.

Bill certainly faced internal conflicts, effectively depicted through Stanfield's unspoken dialogue, like a subtle wince, a nervous smile or a tremulous power fist at a usually nondescript rally. Because his narrative had to be insular, it would have helped if King, who also co-wrote the screenplay with Will Berson, included some information on his family or interior life — even if it was only a contrived encounter with a familiar face. But we're left with a resounding question: Who was Bill O'Neal?


Fred is even more of an enigma in "Judas and the Black Messiah," and he is arguably the more well-known figure between the two. His voice, one that also represents a generation, is reduced to soundbites like "I am … a revolutionary!" which roars in the movie trailer. Kaluuya has proven once again that he is a master of the manic yet quiet ferocity he showed us in both "Widows" and "Get Out," which he duplicates in King's film in a blur of frustratingly indistinct speeches at events and more frantic scenes opposite Stanfield. But we don't learn much about Fred's humanity. He put his body on the line every day for his people, even completing a prison sentence that is almost entirely glossed over in the film. Was he ever scared?
There's only one time that the film dares even to approach this question. It's through Dominique Fishback's heartfelt portrayal of Deborah Johnson (now known as Akua Njeri), Fred's girlfriend, who was nine months pregnant at the time of his murder. With a swollen belly, she asks him whether power to the people was worth the nights in jail or even potentially his death. His only response is: "When I dedicate my life to the people, I dedicate my life."
Though Fishback, like her male counterparts in the film, rises above her uninspired characterization, especially in the film's devastating final moments, the screenplay constrains her performance. As a result, Deborah comes dangerously close to being diminished as the trope of the concerned girlfriend in a male-driven crime thriller.
Despite impressive performances, "Judas and the Black Messiah" has very little to say. Like its character, Bill O'Neal, the film seems often to be at war with itself. Does it want to be a gripping Hollywood crime thriller that just so happens to center people either confronting or constricting the racial revolution of the 1960s? Or does it want to be a political drama that investigates the psychology of Judas and messiah figures within the Black community?
Regardless, it does neither very well.

Candice Frederick
Candice Frederick is a freelance TV and film journalist living in New York City. You can find more of her work here and follow her on Twitter: @reeltalker.

I'm learning the no one asked you or gives a shit fake contraian "think piece" game.

Its just a troll with a higher word count, an associates degree and the grammerly app
 

Tito_Jackson

Truth Teller
Registered
I am wondering if they will ever make a movie about Elijah Muhammad?
This would be tough. Would it be a movie about his entire life or up until before Malcolm?

It could show how hard it was to form the nation and all of the corrupt stuff the government did to try and stop him. I think most of all, it could show how the nation helped so many black men and women find pride within themselves and then their lives around.
 

ORIGINAL NATION

Rising Star
BGOL Investor
This would be tough. Would it be a movie about his entire life or up until before Malcolm?

It could show how hard it was to form the nation and all of the corrupt stuff the government did to try and stop him. I think most of all, it could show how the nation helped so many black men and women find pride within themselves and then their lives around.
The main thing is that it would expose them to real truth. There are certain truths that they do not even want blacks to think about. But yes he did like me believe in what he was doing regardless of having the money or power. His help came in the form of Malcolm.
Right now I could tell people things I know for a fact but no matter how they seem it is hard to prove it and live. These white people are not playing about keeping our minds controlled. With all the protection the president think he got there are certain things they cannot do or say or even look into unless he is white and with the click like Reagan and Bush was.
They use to tell Elijah that some of the stuff you say is true but you keep saying the same thing over and over. He told them that is because you have not caught on to the first thing yet.
 

playahaitian

Rising Star
Certified Pussy Poster
Some Golden Globes Producer Is Getting Fired for Daniel Kaluuya’s Muted Speech
By Devon Ivie@devonsaysrelax



After the dopamine high of Tina Fey and Amy Poehler’s opening monologue, the half virtual, half in-person Golden Globes was hit with its inevitable tech snafu: Daniel Kaluuya, the winner of Best Performance by an Actor in a Supporting Role in Any Motion Picture for his captivating presence in Judas and the Black Messiah, nearly got his acceptance speech cut off due to silly technical difficulties that we’ll just blame on Zoom and definitely not a producer. But 20 seconds of dead air, a confused Laura Dern, and a smiling Bill Murray in a Hawaiian shirt later, Kaluuya was given time to finish his speech, and we’re very happy that we got to be reminded of his hot British accent. “You’re doing me dirty!” he said with a smile. “Like the great Nipsey Hussle said, We’re here to give until we’re empty, and I gave everything.”
 

shamone

Rising Star
OG Investor
@playahaitian :angry:


"Judas and the Black Messiah" has far too much in common with "The Departed." Obviously, director Shaka King's film centers on Black characters, while Martin Scorsese's Boston-set entry does not. But the general concept — a crime thriller about a man covertly working with law enforcement who infiltrates a group considered to be their threat, to eviscerate its strongest force — is the same.

It's an awkward comparison to make because, in actuality, these films shouldn't have many similarities. "Judas and the Black Messiah" details the story of William O'Neal's (LaKeith Stanfield) ascent through the Black Panther Party as an informant for a racist FBI that offers him an awful ultimatum: help them take down party chairman Fred Hampton (Daniel Kaluuya) or go to jail. It's 1966 Chicago, and William, a Black man and petty criminal, has just been busted for impersonating an FBI agent in an attempt to steal cars. Prison could mean death for him, but being a silent "Uncle Tom" for "the man" presents another kind of moral confinement.

There's a specificity to these real-life events and people. Fred isn't merely a powerful, somewhat imperious male figure who cops will stop at nothing to disable. He's a vocal leader of an organization built on the mission of equality for Black people in a country that routinely stalks and oppresses them. William, mostly referred to as Bill throughout the film, is a man that is a bit on the peripheral of that movement, having to depend on crime to survive a system where white and mostly male law officials target Black bodies for any and no reason at all. He makes ill-fated decisions in a lose-lose situation.


But these nuances are lost in King's efforts. It is already a peculiar choice to turn this story, which rarely gets the film treatment, into a caper movie. It's not an entirely preposterous idea, though, considering the opposing nature of the male protagonists, the impending presence of cops and the surreptitious events that culminate with Fred's assassination in 1969.

Still, Bill and Fred—and the landscape in which they live—are too wanly drawn even to produce the type of thrilling entertainment that could also be compelling in its politics.

That's odd, since there is quite a bit of information available on the two individuals and especially the Black Panther Party, barring any inevitably classified FBI case files. And Fred's son, Fred Hampton Jr., the president and chairman of the Prisoners of Conscience Committee and the Black Panther Party Cubs, is credited as a cultural expert on "Judas and the Black Messiah." But the film offers very little particularities when it comes to examining who Bill and Fred were and the world the former was especially fighting.

Bill certainly faced internal conflicts, effectively depicted through Stanfield's unspoken dialogue, like a subtle wince, a nervous smile or a tremulous power fist at a usually nondescript rally. Because his narrative had to be insular, it would have helped if King, who also co-wrote the screenplay with Will Berson, included some information on his family or interior life — even if it was only a contrived encounter with a familiar face. But we're left with a resounding question: Who was Bill O'Neal?


Fred is even more of an enigma in "Judas and the Black Messiah," and he is arguably the more well-known figure between the two. His voice, one that also represents a generation, is reduced to soundbites like "I am … a revolutionary!" which roars in the movie trailer. Kaluuya has proven once again that he is a master of the manic yet quiet ferocity he showed us in both "Widows" and "Get Out," which he duplicates in King's film in a blur of frustratingly indistinct speeches at events and more frantic scenes opposite Stanfield. But we don't learn much about Fred's humanity. He put his body on the line every day for his people, even completing a prison sentence that is almost entirely glossed over in the film. Was he ever scared?
There's only one time that the film dares even to approach this question. It's through Dominique Fishback's heartfelt portrayal of Deborah Johnson (now known as Akua Njeri), Fred's girlfriend, who was nine months pregnant at the time of his murder. With a swollen belly, she asks him whether power to the people was worth the nights in jail or even potentially his death. His only response is: "When I dedicate my life to the people, I dedicate my life."
Though Fishback, like her male counterparts in the film, rises above her uninspired characterization, especially in the film's devastating final moments, the screenplay constrains her performance. As a result, Deborah comes dangerously close to being diminished as the trope of the concerned girlfriend in a male-driven crime thriller.
Despite impressive performances, "Judas and the Black Messiah" has very little to say. Like its character, Bill O'Neal, the film seems often to be at war with itself. Does it want to be a gripping Hollywood crime thriller that just so happens to center people either confronting or constricting the racial revolution of the 1960s? Or does it want to be a political drama that investigates the psychology of Judas and messiah figures within the Black community?
Regardless, it does neither very well.

Candice Frederick
Candice Frederick is a freelance TV and film journalist living in New York City. You can find more of her work here and follow her on Twitter: @reeltalker.
the director said the departed was the inspiration to make judas. matter of fact fred scenes were extended in the script once coogler and studio came on at their request.
 

THE DRIZZY

Ally of The Great Ancestors
OG Investor

The Last Hours of William O'Neal
He was the informant who gave the FBI the floor plan of Fred Hampton's apartment. Last week he ran onto the Eisenhower Expressway and killed himself.
By Michael Ervin
Sign up for our newsletters Subscribe

William O'Neal spent the last few hours of his life with his uncle Ben Heard, a retired truck driver from Maywood. It was Martin Luther King Day.
"We were just sitting around drinking beer," Heard recalls, "talking to some friends of mine. We had company. The company left and that's when he started acting kind of strange."

At 2:30 AM the 40-year-old O'Neal ran out of his uncle's apartment, across the westbound lanes of the Eisenhower Expressway, and was struck by a car and killed. His death was ruled a suicide.

O'Neal achieved lasting infamy in 1973 when his role in the 1969 raid in which Black Panther leaders Fred Hampton and Mark Clark were murdered was revealed. Though O'Neal was a Panther insider to the point where he was in charge of security for Hampton and possessed keys to Panther headquarters and safe houses, he was at the same time serving as an informant for the FBI. Among the information the teenaged O'Neal fed his FBI contact was the floor plan of Hampton's west-side apartment that was used to plan the fatal raid. After his cover was blown O'Neal entered the federal witness protection program, assumed the alias William Hart, and moved to California. He secretly returned to Chicago in 1984.
So not all who knew O'Neal will mourn. But Heard, who says he knew O'Neal as well as anyone, depicts his nephew as a young man who cooperated with the FBI to reduce his own potential jail time, then got in way over his head and was forever tortured by the guilt.

After their drinking buddies left in the early-morning hours of King Day, Heard became worried when O'Neal kept getting up to go to the bathroom. "He'd stay in there 10 or 15 minutes. The last time he stayed 20 minutes. He came out in a rage and he tried to jump out my living room window [which is on the second floor]. I stopped him. I grabbed him by the ankles. I wrestled with him but he broke free and he ran out the door.
"I just had my house shoes and pants on. I couldn't run after him like that. I couldn't have caught him anyway. There was a woman standing in front of the house and she said, 'Lord, it sounds like somebody got hit on the expressway!'"

Heard ran to the ridge of the grassy slope and looked below to the Eisenhower, where he saw a prone body and a car with a broken windshield parked on the shoulder. The state police were already on the scene. When Heard got a close look at the body with his flashlight, his worst fears were confirmed. "The impact had torn the back of his shirt and pants off. His eyes were open. I took his pulse and it was hardly anything." After O'Neal was taken away Heard sat in the trooper's car and listened to the deeply shaken driver tell how O'Neal had jumped out in front of him waving his arms. He tried to swerve, but it was too late.

Heard had seen O'Neal gripped by this rage once before. It was last September, when O'Neal ran out onto the Eisenhower and was struck but only injured. Heard says, "I ran out on the street but I didn't know which way he went. About 15, 20 minutes later I heard an ambulance and I said, 'I hope it's not Bill.' I called the emergency room and it was."

Heard said O'Neal never wanted to talk about the incident. He never said why he did it or if coming so close to death had taught him anything. "But I never thought he would do it again, since he came so close," Heard says. "I never thought he was suicidal."

Heard learned of O'Neal's secret shortly after Hampton's death. "I thought about some of the things he did and said. I asked him, but he denied it." But later O'Neal told his uncle that he'd been in trouble for everything from car theft and home invasion to kidnapping and torture. "He said they had someone tied up and they were pouring hot water over his head. They were trying to get him to do something." So an FBI agent told O'Neal he would take care of it all in exchange for his infiltrating the Panthers.

"I think he was sorry he did what he did. He thought the FBI was only going to raid the house. But the FBI gave it over to the state's attorney and that was all Hanrahan wanted. They shot Fred Hampton and made sure he was dead."

Heard says he was with his nephew the morning after the ambush when he saw the inside of Hampton's apartment. "There was papers strewn all over the floor, blood all over. There was a trail of blood from where they had dragged Fred's body. Bill just stood there in shock. He never thought it would come to all this."

I grew up and live in Maywood. I know people who knew O'Neal.
 

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this is would an interesting interview where they (Lucas Brothers and LaKeith) speak on decisions of making O'Neal the lead in for the audience.​
 
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