Unveiling Fred Hampton: A Critical Analysis of ‘Judas and the Black Messiah
The legacy of Fred Hampton, a revolutionary figure, is under scrutiny in the film “Judas and the Black Messiah,” directed by Shaka King. Although the movie admirably depicts Hampton’s life and activism, it falls short of representing his Marxist and anti-capitalist ideologies adequately.
The battle over Fred Hampton’s narrative has commenced, with various figures attempting to shape his image to fit their agendas. Senator Cory Booker, known for his pro-gentrification stance and neoliberal policies, recently quoted Hampton in a tweet, selectively omitting parts of Hampton’s message that conflicted with Booker’s capitalist ideologies.
Hampton’s words, advocating for solidarity over racial division and socialism over capitalism, are poignant reminders of his radical beliefs. However, mainstream portrayals often gloss over these revolutionary ideas, preferring to sanitize Hampton’s image for broader acceptance.
“Judas and the Black Messiah” provides viewers with a gripping portrayal of Hampton’s leadership within the Black Panther Party. Yet, it skirts around his Marxist-Leninist principles, downplaying the revolutionary fervor that defined his activism. While the film acknowledges Hampton’s socialist leanings, it fails to delve into the intricacies of his political philosophy.
Hampton’s commitment to socialism was rooted in a deep understanding of class struggle and systemic oppression. He believed in empowering the marginalized and saw the need for a revolutionary vanguard to lead the charge against oppressive structures. Unlike conventional Marxist-Leninists, Hampton emphasized mobilizing the disenfranchised, including the unemployed and marginalized groups, to drive social change.
Shaka King’s film captures glimpses of Hampton’s political education efforts and his interactions with diverse communities. However, it could have delved deeper into Hampton’s Marxist theories and his vision for a multiracial coalition against oppression. The focus on FBI surveillance, while relevant, detracts from Hampton’s ideological legacy, echoing a trend seen in other biopics.
Furthermore, the film’s soundtrack, while featuring some notable artists, lacks the revolutionary spirit embodied by Hampton. Instead, it veers towards mainstream narratives that overlook the radical ideologies Hampton espoused.
Critics may dismiss these concerns as attempts to uphold ideological purity. However, the risk of co-opting Hampton’s legacy for commercial or political gain is real. As Lenin cautioned, revolutionary figures are often sanitized and commodified after their deaths, stripping their ideas of their revolutionary essence.
In an era marked by societal upheaval and growing discontent with capitalism’s failures, preserving Hampton’s radical legacy is paramount. “Judas and the Black Messiah” is a step towards acknowledging Hampton’s contributions, but the fight to safeguard his true legacy is far from over. It requires a commitment to confronting uncomfortable truths and resisting attempts to dilute Hampton’s revolutionary message.