Daniel Kaluuya's accent in this Fred Hampton movie bothers me...
- Thread starter Neo. The Only. The One.
- Start date
Laidbackman
All Star
That's equivalent to mocking, truth be told. Calling somebody a god is borderline. Those our really names reserved for the Elect. But calling a man from our nation, who they were trying to kill, and actually succeeded without being charged and convicted, our God/Yahawah or our Messiah/Yahawashi, is really disgraceful to hear, especially once you wake up to the truth.
I remember my very first IT job, when I was the only Black IT person in this small company. They had three servers, with the main server named God. I knew I was wrong for going along with calling a computer server God, but I was scared for my job. A month later I was let go. The reason was, "It's just not working out". Sound familiar? And no, Yahawah didn't give me a break for being scared for my job. I clearly failed that test. We have to watch how we use the name of the Most High, and the Son, or any name associated, especially us.
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Laidbackman
All Star
Because we're in that time. That should be pretty obvious by now.
Btw, they didn't call him a god, they called him our Messiah, and killed him at that. But these devils won't let nobody make a movie no time soon about our real so-called Black Messiah. Some of y'all need to wake up
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Facts
They played a clip of the actual Fred Hampton during the credits and I thought he sounded pretty close 
Dude is very talented but I honestly wasn't feeling the performance.
The accent made it difficult to understand the dialogue at times
I TOLD YALL TO WATCH
WITH SUB TITLES.
WITH SUB TITLES.
THAT nikka IS THE SAMEAGE AS THE BRIT WHO PLAYED FRED.
HE WOULD HAVE BEEN PERFECT.
Judas and the Black Messiah: When Hollywood Co-opts Radical History
Agreed
-Hampton also had all the complexities that make us human. Yet there was no point while watching Judas and the Black Messiah — the film based on his state-orchestrated murder — when I felt a hint of emotion. I felt no swell of joy at the exceedingly brief moments of Black communion. No warmth watching the thinly developed romance between Fred Hampton (Daniel Kaluuya) and Deborah (Dominique Fishback), who connect over Malcolm X speeches like “The Ballot or the Bullet.” I didn’t even feel horror witnessing the bloody violence wrought by white hands, in service of white supremacy. Judas gets neither the beauty and complications of Blackness, nor does it capture the outright depravity of white supremacy. From the poorly developed performances to the muddled script, this film by co-writer/director Shaka King and producer Ryan Coogler fails the history it seeks to embody.
Chicago and its suburbs, with its strict racial divides, are crucial to understanding who Hampton was and what drove him. Hampton attended Proviso East High School in Maywood, Illinois, where he was elected to an interracial council that handled racial tensions that arose in the school. Even after graduating, the school’s principal asked him to come back to handle growing issues along the lines of race among the student body. There he demonstrated his skills in listening as well as an expansive perspective on possible futures and the importance of community, all of which fueled his activism. (After his murder, the tumult between the white and Black students of the school would grow so fiery, the administrators had to cancel classes for several weeks.) Hampton set up a Black cultural center in Maywood. He studied the speeches of Malcolm X, as the film outlines. He also read Mao, Ho Chi Minh, and Che Guevara, and felt communion with leftist struggles beyond the borders of the United States.
“Fred’s evolution cannot be separated from the political events and movements around him,” writes lawyer Jeffrey Haas — who previously represented the Black Panther Party through Chicago’s People’s Law Office and fought for material justice in the wake of Hampton’s death — in his 2009 book The Assassination of Fred Hampton. He points to events such as the 1964 Public accommodations Act and the passage of the Voting Rights Act of 1965 that “did nothing to change the conditions of Blacks in ghettos outside the South.” In Judas, we never get a proper display of the community dynamics that motivated Hampton. We never fully learn the depth of his politics, and that undercuts the potential of the film as a whole.
Ultimately, Kaluuya’s Hampton reads as a blustering showman more than a preacher-poet. In a scene following Hampton’s release from Menard Prison, the camera follows Kaluuya from behind as he walks up the staircase to enter into an auditorium with a rapturous crowd chanting “Chairman Fred.” Kaluuya’s steps have a heaviness to them. He stoically stands onstage before the crowd, surveying what’s ahead of him, before smiling and declaring, “I’m free.” He tells the crowd to repeat after him: “I am a revolutionary.” His performance consists mostly of these kinds of speeches. This gives his character a stilted quality, a bundle of poorly portrayed political ideas rather than an actual human being. To understand Hampton is to understand his actions and humanity, not just his loftiest speeches.
And yet the film whittles down some of Hampton’s most important work to little more than a montage
The only things I felt as the credits rolled were a profound sense of disappointment and a frustrated queasiness at what happens when the industry seeks to adopt an anti-capitalist, anti-imperialist, undeniably radical figure such as Hampton. Hollywood is more of a capitalist enterprise than it is a haven for artists. What it can’t co-opt, it discards.
Agreed
-Hampton also had all the complexities that make us human. Yet there was no point while watching Judas and the Black Messiah — the film based on his state-orchestrated murder — when I felt a hint of emotion. I felt no swell of joy at the exceedingly brief moments of Black communion. No warmth watching the thinly developed romance between Fred Hampton (Daniel Kaluuya) and Deborah (Dominique Fishback), who connect over Malcolm X speeches like “The Ballot or the Bullet.” I didn’t even feel horror witnessing the bloody violence wrought by white hands, in service of white supremacy. Judas gets neither the beauty and complications of Blackness, nor does it capture the outright depravity of white supremacy. From the poorly developed performances to the muddled script, this film by co-writer/director Shaka King and producer Ryan Coogler fails the history it seeks to embody.
Chicago and its suburbs, with its strict racial divides, are crucial to understanding who Hampton was and what drove him. Hampton attended Proviso East High School in Maywood, Illinois, where he was elected to an interracial council that handled racial tensions that arose in the school. Even after graduating, the school’s principal asked him to come back to handle growing issues along the lines of race among the student body. There he demonstrated his skills in listening as well as an expansive perspective on possible futures and the importance of community, all of which fueled his activism. (After his murder, the tumult between the white and Black students of the school would grow so fiery, the administrators had to cancel classes for several weeks.) Hampton set up a Black cultural center in Maywood. He studied the speeches of Malcolm X, as the film outlines. He also read Mao, Ho Chi Minh, and Che Guevara, and felt communion with leftist struggles beyond the borders of the United States.
“Fred’s evolution cannot be separated from the political events and movements around him,” writes lawyer Jeffrey Haas — who previously represented the Black Panther Party through Chicago’s People’s Law Office and fought for material justice in the wake of Hampton’s death — in his 2009 book The Assassination of Fred Hampton. He points to events such as the 1964 Public accommodations Act and the passage of the Voting Rights Act of 1965 that “did nothing to change the conditions of Blacks in ghettos outside the South.” In Judas, we never get a proper display of the community dynamics that motivated Hampton. We never fully learn the depth of his politics, and that undercuts the potential of the film as a whole.
Ultimately, Kaluuya’s Hampton reads as a blustering showman more than a preacher-poet. In a scene following Hampton’s release from Menard Prison, the camera follows Kaluuya from behind as he walks up the staircase to enter into an auditorium with a rapturous crowd chanting “Chairman Fred.” Kaluuya’s steps have a heaviness to them. He stoically stands onstage before the crowd, surveying what’s ahead of him, before smiling and declaring, “I’m free.” He tells the crowd to repeat after him: “I am a revolutionary.” His performance consists mostly of these kinds of speeches. This gives his character a stilted quality, a bundle of poorly portrayed political ideas rather than an actual human being. To understand Hampton is to understand his actions and humanity, not just his loftiest speeches.
And yet the film whittles down some of Hampton’s most important work to little more than a montage
The only things I felt as the credits rolled were a profound sense of disappointment and a frustrated queasiness at what happens when the industry seeks to adopt an anti-capitalist, anti-imperialist, undeniably radical figure such as Hampton. Hollywood is more of a capitalist enterprise than it is a haven for artists. What it can’t co-opt, it discards.
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Pinyapplesuckas
He's A Good Man
yeah nobody would say shyt if they didnt know he wasnt american in the first place.
Those are fictional characters stupid. Black Brits can’t pay AA actual historical icons without failing like shyt - Harriet, Selma, etc etc. what makes it equally disrespectful is they sold their roles for movie time in order to appease a mass audience. Fred Hampton himself hated the media as representative of black history. which is ironic how tone deaf this movie really is. Fred Hampton is turning over in his grave - Let me know when the Brits are going to put their salary up to save Fred Hampton’s home since they capitalized off his name.You know what is funny about this thread. I started watching Snowfall, and just found out the character who plays Franklin is British.
These guys are some good ass actors.
Foh with the hypotheticals- he isn’t a Black American, we know he isn’t AA. end of story
Where have you been?
Living- Busy asf. I relocated, busy with work, was sick for a bit, dealing with family issues, been volunteering legal work etc etc. writing articles and what not. I pop in and pop out whenever time permits. Reserving my energy for shyt that matters.
Pinyapplesuckas
He's A Good Man
and like i said, if you didnt know you wouldnt care. this is a new phenomenon where everybody thinks actors should only play roles that completely mirror their actual life. it makes no sense.
nobody cared who was playing these characters until a few UK cats tricked them
it's called acting for a reason.
So I guess you were “acting” too With all the n-word hard ~ER usage that you do in here. What’s your background? Were you born AA?and like i said, if you didnt know you wouldnt care. this is a new phenomenon where everybody thinks actors should only play roles that completely mirror their actual life. it makes no sense.
nobody cared who was playing these characters until a few UK cats tricked them
it's called acting for a reason.
Reppin the 412 myself. Its racist here. You might not get called a ****** to your face everyday but you'll hear it depending on where you are.
Ive mainly come into contact with p*ssy ass bigots who will try to be your friend, but then call somebody a spook or som shyt. I cant have that around me so I've had to watch who I befriend at times, but for real I'm sick of having to do that.
Luckily you can usually tell if someone got thatpretty early. Ive been tricked before though.
Black folk are really racist here too lately..Maybe i didnt notice it as much, but ive been starting to peep that shyt..Racist towards whites and especially racist toward lightskinned people and other black folk. Lots of self hate in Pittsburgh to accomodate the hate we've already got going on here.
I would expect a coward like you who allows himself to be called n—er by gamers to lack the ability and initiative to have the right type of warrior spirit- the go along to get along type that Fred Hampton couldn’t stand :
your opinion on this subject and movie commentary is null and void.
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