Best Supporting Actor 2020: LaKeith Stanfield in Judas and the Black Messiah

LaKeith Stanfield received his first Oscar nomination for portraying William O'Neal in Judas and the Black Messiah. 

Now onto the "Judas" half of the film. Speaking of up and coming actors, LaKeith Stanfield, in a fairly short amount of time, much like Daniel Kaluuya, has fast been crafting a varied and remarkable filmography. He's an actor I'm always happy to see appear in any film and quite eager to see what he does next. Compared to his co-lead, Stanfield has a very different challenge. This as I'm not sure the film quite knows what to do with William O'Neal but Stanfield does. This as where Kaluuya has a, for about half of the film at least, a clearly defined narrative and motivation to build from, for the character of William O'Neal, things are a little sloppier, though not for Stanfield. Stanfield makes a cohesive character here, but it is through from seeming to make a fundamental choice from his opening scene where O'Neal goes to shake down a bar by posing as an FBI agent. That fundamental choice being that Stanfield seems to define O'Neal as a fool. This could seem an easy way out, but what Stanfield does with it is truly incredible. This as he finds a path for the character that would've been far more difficult without the insight of his performance. I actually think he fashions kind of a fascinating sort of anti- or at least unorthodox charisma with the role. Take his opening scene where he tries to shake down a bar by posing as an FBI agent. There is just so much nuance even in the awkwardness of his manner as he tries to posture so laughable. Even with way Stanfield holds tight to his hat on his face has sense of fallacy that he can do anything here other than getting chased and almost killed, which is naturally what happens. 

Stanfield's escape in this first scene is a brilliant bit of physical acting. This just in that he captures this sense of fear obviously as he runs but this kind of weaselesque energy in the movements. There is something fascinating just to watch Stanfield make his escape as you see a guy putting everything he's got into it, even in his rather messy way. I especially love as he drives off with one of patrons stolen car away, finally making his escape. Stanfield expresses so much relief with a bit of joy that he really effectively pulls you into the frame of O'Neal mind, even as he's a particularly lowly sort. This dynamic approach he finds even continues in what could be a perfunctory scene, where his eventual FBI handler (Jesse Plemons) goes about interrogating him for his previous crime, though is in fact trying to recruit him as an FBI informer/plant. Stanfield's a face of a man seemingly just lost within the interrogation room waiting whatever punishment may await him. In explaining his method of using a badge to rob, Stanfield's delivery is brilliant, this clearly his voice as he speaks with a nearly stilted fear. As well as Stanfield places you within O'Neal within the moment, the most essential moment is when the handler asks if he cares about the deaths of Martin Luther King and Malcolm X. The former Stanfield begrudgingly admits to some sadness as a generalized feeling, but for Malcolm X there is nothing. In this Stanfield shows a man who believes in one thing, his own survival. 

O'Neal is then set to infiltrate the Black Panther party, specifically the chapter lead by Fred Hampton in Chicago. Stanfield is terrific in the early scenes of the man observing the organization. This as again as the fool he doesn't react as a man who really has any high minded ideas, therefore the presentation of them is rather meaningless. Instead Stanfield shows the observer quite effectively as the man looking for his opportunities for his own survival. This as he conveys this as depth-less as the man should be, however this isn't even remotely a criticism. Rather it is fascinating the way Stanfield stands out within the shadows. This as he's to the side, and I just love how much Stanfield does in every silent aside as O'Neal. This as he conveys the working of his brains, and his motivation as this unique thing. Something we understand because we know where he came from, but also wouldn't raise too many questions for others. O'Neal even breaking his cover slightly by hitting on a female member of the party, leading to minor punishment. Stanfield even portrays that as no more than the common lusts for the common man that is O'Neal. O'Neal who is most capable only in finding ways to slip through the clutches of authority. In the moment of convincing the FBI to give him a car, so he can be Fred's driver supposedly, Stanfield speaks with confidence for once in this idea, but mainly as Stanfield shows the far more palatable desire for the car more than anything. 

Stanfield's portrayal captures this sort of marvelous duality of laying low while presenting to us what he's feeling, and is fantastic work. Take a moment on reflecting on the Panther's gun collection he speaks in the phony surprise of admiration of some kind, against the undercurrent in Stanfield's work conveying a fear for his life by the danger the guns present to him as an informer. I think it is fair to say, Stanfield is one of the very best actors working today in terms of portraying jittery fear. The man just has a face for it as he evokes so much anxiety in an silent instance, that most actors would need a dozen screams to represent. Stanfield in this creates create antithetical focal points in the Hamptons speech scenes, because as compelling as Kaluuya is leading the crowd, Stanfield is as compelling in creating O'Neal's kind of paranoid fear deep within the lion's den. A highlight scene for Stanfield, and the film, is when O'Neal's Bona fides are directly questioned as he's held at gun point to prove himself as a car thief. Stanfield is amazing in the scene. This as he captures the tension of the moment. This in both trying to evoke confidence, while always almost failing miserable, while also trying so hard and so desperately to convince. Again though what he is so convincing is as this fool, that there's some nugget of truth within all his fear to make himself convincing. Stanfield is the greatest tight rope walker, a tight rope walker who only ever walks on the tips of his toes and the back of his heels, while waving his arms ferociously to stay up. 

Stanfield finds his path within O'Neal's story, which I think the film could've made more compelling if they had connected Fred and O'Neal beyond him driving for him. Stanfield finds his path though in showing again how the fool navigates this life. This in his moments with the FBI, there is joy and pride in his accomplishments initially as he earns payments and favor for his successes. As the situation grows more dangerous though, Stanfield wields that desperation so effectively. Again Stanfield creates such a fantastic focal point in making himself such a fascinating parasite of an alternate protagonist. Where I think, if not for Stanfield, the logic of the character would be lost in the progression towards the end. This as the film doesn't quite decide what O'Neal is all about in terms of his relationship with the Black Panthers. Of course this is on the record itself where it is disputed whether or not he committed suicide out of guilt or not for his time as an informer. Stanfield explains this actually within his performance. This as he presents the man who really isn't wise enough to know if he has real friends in the party, or if he has loyalty for any friend. Stanfield projects the desperation of the fool who doesn't know what t think in a given moment. Stanfield presents a man so gripped by fear for himself that he never quite seems to make a decision wholly for himself. Stanfield is great here because he makes sense of the possibly senseless. I think the flash forward scenes, based on O'Neal real single interview, are essential. This as he speaks, Stanfield's expression is one of a confusion that weighs upon the man and haunts him. Stanfield doesn't show it as quite guilt, but not exactly that either. It is rather something eating at a man, who himself lacks the ability to truly confront himself over his own actions. This is a brilliant turn by LaKeith Stanfield, as he creates a captivating turn, not based on hope and selflessness, but rather fear and self-preservation.