Considering the ferocity of Steve McQueen’s small
but impressive oeuvre and the subject matter of his latest film, I never
expected to be in for an easy ride with 12
Years a Slave but nothing, not the trailer, the word of mouth nor my own
imagination could prepare me for both its excellence and the horrors to be
found within it. The director’s third feature is based on the memoir of one
Solomon Northup (Chiwetel Ejiofor), a free black man from up-state New York who was
kidnapped and sold into slavery in 1841. The film charts the following decade
and the unimaginable ordeal that is daily life for a slave.
It’s rare these days that I can
report to have sat through a film screening in a packed cinema without seeing
at least one or two phones light up in front of me. Talking and popcorn
rustling are two other offenders which take one out of a film and back to the
annoying reality of the fact that there are other humans around you. Throughout
the two and a quarter hours of 12 Years a
Slave however I didn’t hear a peep from the audience besides a few sniffles
and yelps. The film gripped one and all from its opening frames and touched
myself at least (but I suspect most) with a profound sense of heartache,
perplexity and dare I say it, guilt.
Following a brief few scenes
which outline Solomon’s life as an accomplished and well respected musician,
living in middle class surroundings, side by side with blacks and whites, the
film takes the turn you know to expect. Cinematographer Sean Bobbitt presses
his camera uncomfortably close to the actors during these scenes in a trend
that continues during Solomon’s kidnapping. The screen becomes claustrophobic
and seems to envelop the audience as though we too are being taken against our
will. I struggled for breath and my palms were clammy, as they remained so long
passed the credits began to roll. The camera is unflinching, not allowing the
audience to avert their gaze from both the kidnapping and the horrors that are
to follow.
Side by side with McQueen’s
images is Hanz Zimmer’s creeping and ominous score. It often approaches the
action almost by surprise, arriving quietly after long periods of abject
silence before building to hair raising crescendos full of deep, buzzing bass.
The score isn’t overused and is absent for long periods in which the background
sounds of reeds, insects and the general creaking of the scenery suffice in
adding to the sticky, uncomfortable feeling created by the visuals. In addition
to this is the sophisticated violin music that Northup performs. Though bound
in chains and to an owner he is occasionally called upon to perform, reminding
us and himself of his civility and education.
While watching 12 Years a Slave, one can understand
some of the denigration recently levelled at Quentin Tarantino’s Django Unchained. Criticised in some
quarters for being a ‘rock ‘n’ roll’ version of slavery, this movie spares no
one from the horrors of the barbaric enterprise. Although personally I believe
Tarantino was aiming for something completely different to this film, it feels
like a mild salad pepper to McQueen’s eye watering Naga Viper. One almost
forgets to breathe as lash after lash of the master’s whip attack the flesh of
his ‘property’. Chunks of flesh are ripped from slave’s backs without remorse
as characters take vigorous pleasure in inflicting dominance and pain.
Psychological as well as physical pain comes flowing from overseers and owners
with Solomon losing his name and thus his identity as well as his freedom
within days of capture. Reduced to a lump of meet, judged by how much cotton he
can pick per day (around his own body weight of the light, fluffy plant is
expected), he is stripped of his humanity and we watch on, unable to help. His
feeling of helplessness was echoed in my own. I would have given anything to
jump through the screen and through time to put an end to his suffering.
It feels almost ridiculous to say
this but Solomon nearly gets away lightly compared to others. Although beaten
mercilessly on several occasions, it is fellow slave Patsey (Lupita Nyong’o)
who suffers most at the hands of her vicious and sadistic, scripture preaching
owner (Michael Fassbender). Young, attractive and strong she draws her master’s
gaze in such a way that he takes it upon himself to use not only her muscles
for picking but also her womanhood for his own pleasure. While in her master’s
favour she is treated appallingly by his jealous and equally sadistic wife
before taking a beating which I admit bought a tear to my eye. Others in the
audience I noted were unable to watch at all. Her look to Solomon while
writhing in pain shortly after, a look that unspeakingly utters “kill me” was
one of the most depressing things I’ve seen on screen.
Although notable for both the
intense and unwaveringly harrowing script and masterful direction, the film
will draw warranted praise for its acting too. Chiwetel Ejiofor carries the
film on his heavily scarred back, appearing in almost every scene. He conveys
the dignity and poise of an educated man, even when suppressing it to go
undetected on the plantation. His transformation from musician, father and
husband to owned property is mind shattering and he is sure to earn nominations
from the major awards. One scene in particular summed up his performance for me
and came around three quarters into the film. Throughout his captivity Solomon
attempts to keep a low profile despite occasional and dogged resistance. He
keeps himself slightly separate from the other slaves in an attempt to avoid
truly becoming one. During a funeral service the other slaves are singing a
beautiful song which Solomon suddenly feels compelled to join in with. There is
a sudden but subtle look on Ejiofor’s face when he realises that this is who he
is. The ferocity of his singing soon changes his face though as he uses its
strength to find strength in himself. It’s an uplifting but simultaneously
saddening scene which bought another tear to my eye.
Alongside Ejiofor’s central
performance, there are almost a dozen which could be mentioned but special
praise should go to Lupita Nyong’o whose character suffers though unimaginable
torment. She is incredible and looks set to earn an Oscar nomination at the
very minimum. Michael Fassbender plays a neurotically sick and twisted bastard,
the ultimate heinous villain and does so brilliantly. You almost feel the
hatred behind his eyes. Benedict Cumberbatch has a small role as a softer, more
human slave owner, one who seems almost loveable in comparison to others. The
division evident in his character’s mind about his ownership of fellow humans
is unmistakable in the actor’s performance. Paul Dano is another who has the
fortune of playing a character as evil as an actor is ever likely to be
offered. He gives a slimy, underhandedness to his performance. A man who knows he
doesn’t have the intellect to take charge of slaves but will do anything to
hold on to the power he has over human life.
12 Years a Slave is one of those once a decade sort of films which
educates its audience and forces them to confront their past. Although it might
not be our past per se, we share a collective history in which the likes of the
acts witnessed in this film were allowed to take place. We owe it to those who
suffered through lives, the emptiness of which we cannot imagine, to attempt to
understand or at least acknowledge what took place. This film tells it as it
was. It doesn’t sugar coat or leave things to the imagination. Like Alex and
the Ministry of the Interior it straps us to a gurney and holds our eyes open
wide. It does all of this in a way that leaves one breathless and at a loss for
an explanation as to how and why. I truly believe that this film is a
masterpiece. Not only does it feature film craft at its finest, in all
disciplines but it gives us, fortunately only, a small glimpse into what
mankind is capable of, both the evil and thankfully the good.
10/10
GFR 10/10
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Well said. This film is a masterpiece indeed.
ReplyDeleteGood review Tom. It was definitely good film, but I did not enjoy it that much. I think screenplay is a weak point here, no dialogue driven adaptation does not look so strong at Oscars.
ReplyDeleteThanks but I have to disagree. I think the screenplay is very strong, often saying more by saying nothing.
Delete"One almost forgets to breathe as lash after lash of the master’s whip attack the flesh of his ‘property’"
ReplyDeleteYup. I forgot to breathe. You almost don't even realize you're physically holding it in until "that scene" ends. Great review here. It's hard not to be passionate about this film as it's such a necessary one. Completely flawless in every form of cinematic nature...Steve McQueen deserves that Oscar.
As awful as it is to watch at times, I can't wait to see it again. And you're right, he deserves the Oscar.
DeleteThis movie is really awesome and I watch movie with my friends. We all enjoy the full movie. Movie has great story and I really love to watch this movie. Thanks for your review Tom.
ReplyDelete