The Murder of Fred Hampton


1h 28m 1971
The Murder of Fred Hampton

Brief Synopsis

A documentary about the Illinois chapter of the Black Panther Party and its chairman, Fred Hampton. A fiery orator, Hampton was only 20 years old at the time, but his electrifying words and actions were inspiring young black people to demand respect and to insist that their power and voice be felt i

Film Details

Also Known As
Hampton
Genre
Documentary
Release Date
Jan 1971
Premiere Information
World premiere in Chicago: 4 May 1971; New York opening: 4 Oct 1971; FILMEX screening in Los Angeles: 10 Nov 1971
Production Company
The Film Group
Distribution Company
Chicago Film Archives
Country
United States

Technical Specs

Duration
1h 28m

Synopsis

This documentary traces the last year in the life of Fred Hampton, the twenty-one-year-old Deputy Chairman of the Illinois Chapter of the Black Panther Party. Hampton, a charismatic speaker dedicated to bringing education to the lower classes, urges the many attendees of his rallies to educate themselves, fight racism and capitalism and free oppressed peoples throughout the world, no matter what their color. Along with fellow Panthers such as Bobby Seale and Bobby Rush, Hampton helps establish breakfast programs to feed poor children and a free medical clinic to bring health care to the poverty-stricken residents in a run-down area of Chicago. Although Hampton frequently reminds his listeners that they are not fighting against whites, for there many radical white people who support their cause, he rails against the current white-dominated power structure and especially the police, whom he accuses of persecuting blacks. Hampton and other Panthers advocate armed resistance, unlike proponents of nonviolence such as Dr. Martin Luther King, Jr., and often declare that they will shoot any "pig" who draws a weapon on them. Hampton urges his followers to arm themselves with as many guns as possible and always be prepared for violent confrontation. Hampton and white activist Rennie Davis speak out vigorously after the arrest of Seale, one of the founders of the Black Panthers, especially when Seale is treated brutally. With his cry "Power to the people," Hampton energizes his listeners to stand together and reminds them that while revolutionaries can be jailed, revolution cannot. One day, Hampton meets with fellow activists attempting to start their own organization. Although Hampton expresses cautious optimism about their plans for a black-run credit union, he urges them to increase their education programs, as without education, people become narrow-minded, racist and materialistic. He also reminds them that any potential Panther member must participate in a six-week course of political education to join the party. At another rally, Hampton urges black businessmen to become more responsible in order to avoid "Negro imperialism." At the medical clinic, Hampton discusses his early life with friends, telling them that he was born into a "bourgeois community," but once he realized how many starving and ill-educated people there were, he vowed to struggle for the "people's revolution" and establish a socialistic state. Hampton continues to remind his followers that it is a privilege to work for justice, no matter what the cost. Hampton is arrested for robbing an ice cream truck and giving the contents to neighborhood children, and is sentenced to two to five years in jail. During this time, the headquarters of the Chicago Black Panther Party are raided, and five policemen are wounded and three Panthers are beaten. After the melee, the police set fire to the building, destroying it. Upon Hampton's release on bail, he speaks at a rally about how much he learned while incarcerated at Menard Penitentiary. Stating that it is only by listening to the people that their leaders can truly learn, Hampton joyfully calls out that he is "high on the people." At another meeting, Hampton discusses how the new State's Attorney, Edward V. Hanrahan, is determined to have him jailed in order to suppress his militant activities. Hampton again urges his followers to forget the racism ingrained in American culture and instead work to eradicate class differences that oppress people of all races. Early in the morning of 4 December 1969, police, who allegedly have been informed that there are weapons and contraband in Hampton's residence, storm the two-bedroom apartment through both the front and back doors. According to later testimony, twelve minutes of shooting ensue, during which ninety-nine shots are fired, and Hampton is killed. Hampton's girl friend, Deborah Johnson, who was almost nine months pregnant at the time of the attack, describes the incident, which she insists was an unprovoked, deliberate attempt to assassinate Hampton. Another witness is "Doc" Satchel, who was sleeping in the other bedroom and was shot five times. Although the police and Hanrahan assert that the Panthers shot first, and that the police fired their machine guns over the heads the occupants, not straight at them, evidence is presented showing that the bullet holes are in a straight, low line in the walls, rather than above the occupants' heads. The police officers maintain that they stopped firing several times and ordered the residents to come out, but again, their testimony is contradicted by that of the witnesses, who state that no respite was given. Johnson recalls hearing the policemen standing over Hampton's dead body and laughing, and the blood-soaked mattress on which Hampton was sleeping is shown. At another press conference, Hanrahan maintains that he is standing behind his officers and will not resign. Several officials, including a Cook County councilman and the president of the Afro-American Police Association, issue their opinions that the warrant to invade Hampton's home was a "subterfuge," and that the "mission of the police was to murder and maim." Bobby Rush's attorney pursues the case, especially after Rush's apartment is raided by the police, although Rush is not injured because he was not home. The lawyer reads the findings of a grand jury convened in federal district court in Illinois, which determined that the police shot for twelve solid minutes, and that of the ninety-nine bullets shot, only one could possibly have come from a Panther firearm. Despite the grand jury's contention that the raid, which resulted in two deaths, four injuries and seven "improper criminal charges," was not properly executed, it concludes that there is insufficient cause to charge the police officers with willful violation of the occupants' civil rights.

Film Details

Also Known As
Hampton
Genre
Documentary
Release Date
Jan 1971
Premiere Information
World premiere in Chicago: 4 May 1971; New York opening: 4 Oct 1971; FILMEX screening in Los Angeles: 10 Nov 1971
Production Company
The Film Group
Distribution Company
Chicago Film Archives
Country
United States

Technical Specs

Duration
1h 28m

Articles

The Murder of Fred Hampton (1971)


When Howard Alk and Mike Gray of Chicago’s The Film Group started production on their documentary about Fred Hampton, the 21-year-old leader of the Black Panthers’ Illinois chapter, their working title was “Black Panther.” The focus was to be on Hampton’s eloquent speeches, his founding of the chapter and the programs he created for children. However, while still in production, the events of December 4, 1969, changed both the focus and the title of the film to The Murder of Fred Hampton

On that night, Chicago police, under orders from State’s Attorney Edward V. Hanrahan, conducted a late-night raid on Hampton’s west side apartment, during which both Hampton and Panther member Mark Clark were shot dead. Gray and Alk rushed to the apartment before the police secured it and filmed as much of the crime scene as they could. Their profile of Hampton became an investigation of his murder, claiming that the police deliberately killed Hampton because his charisma and his powers of persuasion posed a threat to the Establishment.

Alk and Gray had trouble getting the film booked into theaters in Chicago when it was released in 1971. Speaking with film critic Roger Ebert, Mike Gray said that despite positive reviews, theater owners were hesitant to screen it because it was made in Chicago, and they would have to screen it outside of the city to gain respect. “If a little New York rubs off on a Chicago film, somehow that makes the film real for Chicagoans.” Alk also felt that the subject matter was too personal for Chicagoans. “It is possible to draw the conclusion that Fred Hampton's death was a case of state murder. Some people in Chicago don't want to draw that conclusion because then they'd have to share responsibility for doing something about it.”

The filmmakers misjudged the timing of the release before the grand jury handed down indictments. Howard Alk recalled later, “[W]e didn't know how long the indictments would be suppressed. But there was something else. A lot of people thought the indictments would take care of everything. That the Fred Hampton case would have a happy ending.”

Chicago theater owners weren’t the only ones to reject the film. Major distributors in the United States were unwilling to release it into commercial theaters in 35mm, and it was later distributed on 16 mm for the college market by National Talent Service of New York. Despite the cold shoulder from America, it received a stellar welcome in Europe, appearing at several film festivals, including Berlin, Cannes and Pesaro.

In his review for The New York Times, A.H. Weiler wrote that while The Murder of Fred Hampton clearly had an agenda and was technically flawed, “it emerges as a disturbingly somber illustration of some of the ills that beset us and our social system. […] [It is] an unleavened indictment of Edward V. Hanrahan, the Illinois State's Attorney, the policemen in the raid and the Chicago political Establishment. […] Mr. Gray, Howard Alk, his editor and the rest of their company, […] deserve credit for presenting their impassioned case, which certainly rates a wider audience.”

Twenty years after the release of The Murder of Fred Hampton, Mike Gray reflected on his time with Hampton. A few months after Hampton was murdered, Gray began to realize what made Hampton stand apart from everyone else. Spending hours in the editing room with Howard Alk watching the footage of Hampton and his speeches brought the answer to him: Fred Hampton had accepted his own death, and that knowledge made him fearless. “Hampton had simply set that fear to rest. He was free. Thus, he was able to speak clean simple truths that hit you like a thunderbolt.”

Because of its historical importance, The Murder of Fred Hampton was restored by the UCLA Film and Television Archive in conjunction with the Chicago Film Archives, whose mission is to preserve films about the Midwest by Midwestern filmmakers. The new 35mm preservation print will ensure that the film will be saved for future generations for at least another century.

SOURCES:

The AFI Catalog of Feature Films. https://catalog.afi.com/Film/54096-THE-MURDEROFFREDHAMPTON?sid=4682f8fe-d37c-4c23-b58f-bbee36c81d33&sr=13.239697&cp=1&pos=0
The Chicago Film Archives. “The Murder of Fred Hampton (1971). http://www.chicagofilmarchives.org/pres-projects/the-murder-of-fred-hampton-1971
Day, Susie. 2020. The Brother You Choose. Chicago: Haymarket Books.
Ebert, Roger. “Interview with Mike Gray.” RogerEbert.com. October 11,1971.
https://www.rogerebert.com/interviews/interview-with-mike-gray
Haas, Jeffrey. 2019. The Assassination of Fred Hampton: How the FBI and the Chicago Police Murdered a Black Panther. Chicago: Lawrence Hill Books.
The Internet Movie Database. https://www.imdb.com/title/tt0067456/?ref_=nv_sr_srsg_0
Pride, Ray. “After the 1968 Riots: Restoring The Film Group’s American Revolution 2.” Newcityfilm.com. October 26, 2018. https://www.newcityfilm.com/2018/10/26/after-the-1968-riots-restoring-the-film-groups-american-revolution-2/
UCLA Library Film & Television Archive. “The Murder of Fred Hampton.” September 24, 2020. https://www.cinema.ucla.edu/events/2020/09/24/the-murder-of-fred-hampton
Weiler, A.H. “The Murder of Fred Hampton.” The New York Times. October 5, 1971. https://www.nytimes.com/1971/10/05/archives/the-murder-of-fred-hampton.html

The Murder Of Fred Hampton (1971)

The Murder of Fred Hampton (1971)

When Howard Alk and Mike Gray of Chicago’s The Film Group started production on their documentary about Fred Hampton, the 21-year-old leader of the Black Panthers’ Illinois chapter, their working title was “Black Panther.” The focus was to be on Hampton’s eloquent speeches, his founding of the chapter and the programs he created for children. However, while still in production, the events of December 4, 1969, changed both the focus and the title of the film to The Murder of Fred Hampton. On that night, Chicago police, under orders from State’s Attorney Edward V. Hanrahan, conducted a late-night raid on Hampton’s west side apartment, during which both Hampton and Panther member Mark Clark were shot dead. Gray and Alk rushed to the apartment before the police secured it and filmed as much of the crime scene as they could. Their profile of Hampton became an investigation of his murder, claiming that the police deliberately killed Hampton because his charisma and his powers of persuasion posed a threat to the Establishment.Alk and Gray had trouble getting the film booked into theaters in Chicago when it was released in 1971. Speaking with film critic Roger Ebert, Mike Gray said that despite positive reviews, theater owners were hesitant to screen it because it was made in Chicago, and they would have to screen it outside of the city to gain respect. “If a little New York rubs off on a Chicago film, somehow that makes the film real for Chicagoans.” Alk also felt that the subject matter was too personal for Chicagoans. “It is possible to draw the conclusion that Fred Hampton's death was a case of state murder. Some people in Chicago don't want to draw that conclusion because then they'd have to share responsibility for doing something about it.”The filmmakers misjudged the timing of the release before the grand jury handed down indictments. Howard Alk recalled later, “[W]e didn't know how long the indictments would be suppressed. But there was something else. A lot of people thought the indictments would take care of everything. That the Fred Hampton case would have a happy ending.”Chicago theater owners weren’t the only ones to reject the film. Major distributors in the United States were unwilling to release it into commercial theaters in 35mm, and it was later distributed on 16 mm for the college market by National Talent Service of New York. Despite the cold shoulder from America, it received a stellar welcome in Europe, appearing at several film festivals, including Berlin, Cannes and Pesaro.In his review for The New York Times, A.H. Weiler wrote that while The Murder of Fred Hampton clearly had an agenda and was technically flawed, “it emerges as a disturbingly somber illustration of some of the ills that beset us and our social system. […] [It is] an unleavened indictment of Edward V. Hanrahan, the Illinois State's Attorney, the policemen in the raid and the Chicago political Establishment. […] Mr. Gray, Howard Alk, his editor and the rest of their company, […] deserve credit for presenting their impassioned case, which certainly rates a wider audience.”Twenty years after the release of The Murder of Fred Hampton, Mike Gray reflected on his time with Hampton. A few months after Hampton was murdered, Gray began to realize what made Hampton stand apart from everyone else. Spending hours in the editing room with Howard Alk watching the footage of Hampton and his speeches brought the answer to him: Fred Hampton had accepted his own death, and that knowledge made him fearless. “Hampton had simply set that fear to rest. He was free. Thus, he was able to speak clean simple truths that hit you like a thunderbolt.”Because of its historical importance, The Murder of Fred Hampton was restored by the UCLA Film and Television Archive in conjunction with the Chicago Film Archives, whose mission is to preserve films about the Midwest by Midwestern filmmakers. The new 35mm preservation print will ensure that the film will be saved for future generations for at least another century.SOURCES:The AFI Catalog of Feature Films. https://catalog.afi.com/Film/54096-THE-MURDEROFFREDHAMPTON?sid=4682f8fe-d37c-4c23-b58f-bbee36c81d33&sr=13.239697&cp=1&pos=0The Chicago Film Archives. “The Murder of Fred Hampton (1971). http://www.chicagofilmarchives.org/pres-projects/the-murder-of-fred-hampton-1971Day, Susie. 2020. The Brother You Choose. Chicago: Haymarket Books.Ebert, Roger. “Interview with Mike Gray.” RogerEbert.com. October 11,1971.https://www.rogerebert.com/interviews/interview-with-mike-grayHaas, Jeffrey. 2019. The Assassination of Fred Hampton: How the FBI and the Chicago Police Murdered a Black Panther. Chicago: Lawrence Hill Books.The Internet Movie Database. https://www.imdb.com/title/tt0067456/?ref_=nv_sr_srsg_0Pride, Ray. “After the 1968 Riots: Restoring The Film Group’s American Revolution 2.” Newcityfilm.com. October 26, 2018. https://www.newcityfilm.com/2018/10/26/after-the-1968-riots-restoring-the-film-groups-american-revolution-2/UCLA Library Film & Television Archive. “The Murder of Fred Hampton.” September 24, 2020. https://www.cinema.ucla.edu/events/2020/09/24/the-murder-of-fred-hamptonWeiler, A.H. “The Murder of Fred Hampton.” The New York Times. October 5, 1971. https://www.nytimes.com/1971/10/05/archives/the-murder-of-fred-hampton.html

Black Panther Party documentary The Murder of Fred Hampton on DVD


It was common on college campuses in 1971 and '72 to see showings of 'revolutionary' films, mostly documentaries advocating political positions far to the left of center. The Argentinian La hora de los hornos, about neocolonialism and oppression in Argentina, was shown constantly even though it was banned in its home country for several more years. One of the best- received advocacy docus was The Murder of Fred Hampton, a movie begun in 1969 to show the community work of the Illinois Black Panther Party. When Hampton was killed in a "police raid" on December 4, the film became a prime record of an incident that has gone down in history as an officially sanctioned murder.

The docu is balanced in that it shows both the rhetoric-spouting Black Panthers and the brazenly cocky police officials for what they were. By avoiding an imposed commentary Howard Alk's film forces us to draw our own conclusions. The charismatic Panther leaders Fred Hampton and Bobby Rush hold weekly meetings for their grass roots militant association, and attend indoctrination breakfasts to give the children of their community a sense of black pride, etc. The breakfast pep talks ("the milk's good for your teeth, man") appear to be staged for the camera, but everything the Panthers do in public exhibits a high degree of PR calculation.

The speeches for adult audiences are less compelling. Hampton and his close associate Rush harangue their congregation-like meetings with militant slogans and calls to organize against the oppression of the white corporate culture. They insist that they're not simply anti-white but against oppressors of all races. Their rhetoric advocates armed resistance as the means to overthrow governmental authority. All cops are pigs, whether they're black or white. One speaker likes to punctuate his arguments with the verbal image of a cop with his brains blown out. The Panthers are arguably defending their communities against police violence, but their call-to-arms mentality and Communist ideology label them as dangerous militants. The general public was shocked by the sight on TV of gun-toting rebels chanting "Death to the Oppressor," images that put the racial issue on an "Us or Them" basis.

The Panthers and especially Fred Hampton are better served by praise from knowledgeable outsiders. Anti-war activist Rennie Davis, one of the Chicago Seven, indicates that the fiery speeches and rebel posing were only a part of the Panther's activities. They take a meeting with a smaller, unaligned black pride organization which advocates a much more Marxist posture. The Panthers lean more toward practical matters, like forming a Co-op credit union.

Then comes the actual killing. According to the Illinois State's Attorney Edward Hanrahan, the police were following a tip about a 'weapons depot', an interesting choice of words considering that they claimed they didn't know that Panthers were involved. They claim that they announced themselves and returned fire only when confronted by a barrage of shotgun, rifle and pistol shots from inside the apartment. Hampton was supposedly killed reaching for two weapons, and Hanrahan thanks God that no police were injured.

Revelations released years later (and not presented in The Murder of Fred Hampton) pretty much demolished the police account of the killing. The raid was not conducted by normal police but by a special squad coordinated with COINTELPRO, a secret FBI squad convened by J. Edgar Hoover to 'neutralize' dangerous dissidents and radicals. Paid informer William O'Neal tipped the raiders and identified where Hampton slept. O'Neal drank with the tenants and left after slipping Hampton a soporific.

Since the raid was not carried out by regular police, the crime scene was not secured. That allowed the Panthers (and Alk) to examine the rooms and film evidence refuting the police claim that they were met with heavy armed resistance. In addition, witnesses in the apartment (including Hampton's pregnant girlfriend) are consistent in their testimony that the raiders shot Hampton, examined what they'd done, and then fired two additional shots into his head. "Now he's good and dead," one said.

The Panthers and their attorneys lace their news interviews with political theater, presenting their Chairman Hampton as yet another martyr to the revolution. Bobby Rush announces that the cops boasted that he was the next target, a claim bolstered by photos of grinning police at the crime scene. But the film presents plenty of hard evidence countering Hanrahan's claim of a gun battle. Only one tenant fired a shot, and the apartment walls show no trace of the multiple shotgun blasts supposedly fired by the Panthers. Faced with these contradictions, Hanrahan becomes more rigid in his interviews, reiterating the same statements about a crime scene he never personally visited. After decades of watching politicians and white-collar criminals evading questions on television, Hanrahan does not come off as credible.

The docu winds down with contradictory conclusions. The Panthers hold a mock trial to publicize the facts of the killing, because they're convinced that the official inquest will be rigged. Indeed, the police are later exonerated for lack of evidence. The Murder of Fred Hampton does not insist on one conclusion, and instead allows the footage speak for itself. Later revelations, however, do uphold the Panthers' claim that the killing was a premeditated police murder.

Facets Video's DVD of The Murder of Fred Hampton is an okay transfer of a very roughly filmed show. The flat B&W feature looks pretty good considering that many scenes are (understandably) poorly lit. Only a few inter-titles are added to identify people, places and dates, so the movie is best appreciated as a study tool in conjunction with written accounts of the events in question.

The lack of a subtitle option also causes problems, as a lot of the audio outside of newsreel situations is boomy and indistinct. Some of it is barely on microphone, making many speeches difficult to fully understand. Facets' one extra is a short film about an earlier anti-racism demonstration called Cicero March made by the same talent. White thugs (including women) follow the black marchers and provoke them with taunts and obscenities. When the violence breaks out, it is all between the riot police and the whites.

For more information about The Murder of Fred Hampton, visit Facets Video. To order The Murder of Fred Hampton, go to TCM Shopping.

By Glenn Erickson

Black Panther Party documentary The Murder of Fred Hampton on DVD

It was common on college campuses in 1971 and '72 to see showings of 'revolutionary' films, mostly documentaries advocating political positions far to the left of center. The Argentinian La hora de los hornos, about neocolonialism and oppression in Argentina, was shown constantly even though it was banned in its home country for several more years. One of the best- received advocacy docus was The Murder of Fred Hampton, a movie begun in 1969 to show the community work of the Illinois Black Panther Party. When Hampton was killed in a "police raid" on December 4, the film became a prime record of an incident that has gone down in history as an officially sanctioned murder. The docu is balanced in that it shows both the rhetoric-spouting Black Panthers and the brazenly cocky police officials for what they were. By avoiding an imposed commentary Howard Alk's film forces us to draw our own conclusions. The charismatic Panther leaders Fred Hampton and Bobby Rush hold weekly meetings for their grass roots militant association, and attend indoctrination breakfasts to give the children of their community a sense of black pride, etc. The breakfast pep talks ("the milk's good for your teeth, man") appear to be staged for the camera, but everything the Panthers do in public exhibits a high degree of PR calculation. The speeches for adult audiences are less compelling. Hampton and his close associate Rush harangue their congregation-like meetings with militant slogans and calls to organize against the oppression of the white corporate culture. They insist that they're not simply anti-white but against oppressors of all races. Their rhetoric advocates armed resistance as the means to overthrow governmental authority. All cops are pigs, whether they're black or white. One speaker likes to punctuate his arguments with the verbal image of a cop with his brains blown out. The Panthers are arguably defending their communities against police violence, but their call-to-arms mentality and Communist ideology label them as dangerous militants. The general public was shocked by the sight on TV of gun-toting rebels chanting "Death to the Oppressor," images that put the racial issue on an "Us or Them" basis. The Panthers and especially Fred Hampton are better served by praise from knowledgeable outsiders. Anti-war activist Rennie Davis, one of the Chicago Seven, indicates that the fiery speeches and rebel posing were only a part of the Panther's activities. They take a meeting with a smaller, unaligned black pride organization which advocates a much more Marxist posture. The Panthers lean more toward practical matters, like forming a Co-op credit union. Then comes the actual killing. According to the Illinois State's Attorney Edward Hanrahan, the police were following a tip about a 'weapons depot', an interesting choice of words considering that they claimed they didn't know that Panthers were involved. They claim that they announced themselves and returned fire only when confronted by a barrage of shotgun, rifle and pistol shots from inside the apartment. Hampton was supposedly killed reaching for two weapons, and Hanrahan thanks God that no police were injured. Revelations released years later (and not presented in The Murder of Fred Hampton) pretty much demolished the police account of the killing. The raid was not conducted by normal police but by a special squad coordinated with COINTELPRO, a secret FBI squad convened by J. Edgar Hoover to 'neutralize' dangerous dissidents and radicals. Paid informer William O'Neal tipped the raiders and identified where Hampton slept. O'Neal drank with the tenants and left after slipping Hampton a soporific. Since the raid was not carried out by regular police, the crime scene was not secured. That allowed the Panthers (and Alk) to examine the rooms and film evidence refuting the police claim that they were met with heavy armed resistance. In addition, witnesses in the apartment (including Hampton's pregnant girlfriend) are consistent in their testimony that the raiders shot Hampton, examined what they'd done, and then fired two additional shots into his head. "Now he's good and dead," one said. The Panthers and their attorneys lace their news interviews with political theater, presenting their Chairman Hampton as yet another martyr to the revolution. Bobby Rush announces that the cops boasted that he was the next target, a claim bolstered by photos of grinning police at the crime scene. But the film presents plenty of hard evidence countering Hanrahan's claim of a gun battle. Only one tenant fired a shot, and the apartment walls show no trace of the multiple shotgun blasts supposedly fired by the Panthers. Faced with these contradictions, Hanrahan becomes more rigid in his interviews, reiterating the same statements about a crime scene he never personally visited. After decades of watching politicians and white-collar criminals evading questions on television, Hanrahan does not come off as credible. The docu winds down with contradictory conclusions. The Panthers hold a mock trial to publicize the facts of the killing, because they're convinced that the official inquest will be rigged. Indeed, the police are later exonerated for lack of evidence. The Murder of Fred Hampton does not insist on one conclusion, and instead allows the footage speak for itself. Later revelations, however, do uphold the Panthers' claim that the killing was a premeditated police murder. Facets Video's DVD of The Murder of Fred Hampton is an okay transfer of a very roughly filmed show. The flat B&W feature looks pretty good considering that many scenes are (understandably) poorly lit. Only a few inter-titles are added to identify people, places and dates, so the movie is best appreciated as a study tool in conjunction with written accounts of the events in question. The lack of a subtitle option also causes problems, as a lot of the audio outside of newsreel situations is boomy and indistinct. Some of it is barely on microphone, making many speeches difficult to fully understand. Facets' one extra is a short film about an earlier anti-racism demonstration called Cicero March made by the same talent. White thugs (including women) follow the black marchers and provoke them with taunts and obscenities. When the violence breaks out, it is all between the riot police and the whites. For more information about The Murder of Fred Hampton, visit Facets Video. To order The Murder of Fred Hampton, go to TCM Shopping. By Glenn Erickson

Quotes

Trivia

Notes

The film was reviewed by Variety under the title Hampton. Although reviews of the picture listed a running time of 88 minutes, it was copyrighted at 83 minutes. The incomplete print viewed was approximately 61 minutes long and did not contain any credits other than the title. The credits listed above were obtained from reviews and other contemporary sources. The film ends with a black screen over which the voice of Fred Hampton is heard as he speaks at a rally. As Hampton speaks, his words appear in capital letters on the screen, including his belief that he "will be able to die as a revolutionary in the international revolutionary proletarian struggle." Hampton then leads his followers in shouting "power to the people," a popular slogan of the Black Panther Party.
       As depicted in the film, Fred Hampton (30 August 1948-4 December 1969), was shot and killed by police during a raid on his Chicago apartment. Mark Clark, another prominent member of the Black Panther Party, was also killed during the raid. Hampton, who had become a political activist in his teens, coined the expression "rainbow coalition" after promoting alliances between various gangs and political organizations. In the late 1960s, Hampton joined the Black Panther Party and became the Deputy Chairman of the Illinois chapter. According to Filmfacts, the documentary, which strongly implied that Illinois State's Attorney Edward V. Hanrahan organized the raid on Hampton's apartment in order to assassinate him, helped to prompt the indictment of Hanrahan, one of his assistants and twelve of the policemen participating in the raid for obstruction of justice. Hanrahan was acquitted of all charges in October 1972 but lost his subsequent bid for re-election.
       According to Filmfacts and other contemporary sources, filmmakers Mike Gray and Howard Alk, who had worked on the 1969 documentary American Revolution 2, about the Black Panthers, had been preparing a documentary about Hampton. After learning of his death, they rushed to film the apartment where Hampton died and the subsequent press conferences held by the opposing parties. The Newsweek review reported that Gray paid $20,000 for the "network TV film showing the police re-enactment of their version of the shooting." The Variety review stated that Gray and his crew declined individual credit on the finished film, which was shot in 16mm and blown up to 35mm for theatrical release.
       The Newsweek review related that despite having "scored a big hit with audiences at the recent Cannes Film Festival," no major U.S. company was interested in distributing the film, and a November 19, 1971 Los Angeles Free Press article stated that the film was, at the time, being distributed by National Talent Service of New York to the 16mm "college market," with major distributors unwilling to handle the 35mm prints in "commercial houses." According to the Hollywood Reporter review, in addition to being shown at the first Los Angeles FILMEX film festival in November 1971, The Murder of Fred Hampton was part of a documentary series presented in Los Angeles in February 1972. The picture was also screened several times in Los Angeles in March 1977 to benefit the Fred Hampton Legal fund, which had been established to aid Hampton's survivors in their lawsuits for punitive damages. In November 1982, the city of Chicago and the federal government awarded a $1,850,000 settlement to the survivors of the raid and to the relatives of Hampton and Clark.

Miscellaneous Notes

Released in United States 1971

Released in United States 1997

Released in United States November 1971

Released in United States 1971

Released in United States 1997 (Shown in New York City (Film Forum) as part of program "60's Verite" November 14 - December 11, 1997.)

Released in United States November 1971 (Shown at FILMEX: Los Angeles International Film Exposition (Documentary) November 4-14, 1971.)