If there was ever a film which was truly right to explore
the subject of slavery and the institutionalised barbarism of the slave trade,
it was this one. From the sheer degree of talent both behind the camera and on
screen, every scene tells an independent story. From the moment a human is
taken and forced into a life as little more than a living tool to the horror of
living on a plantation farm, everything is shown. No punches are pulled and
there is not a moment where the actors ever feel as if they are not throwing
themselves into their roles.
Based upon the memoirs of the same name the film follows the
story of Solomon Northup (Chiwetel Ejiofor), a free-born African American
farmer with a talent with the violin. Brought to Washington under false
pretences of putting his skills as a musician to use, he is abducted and
enslaved. What follows are twelve years of hell, displaying the true savagery
society is capable of.
With the inclusion of names such as Michael Fassbender and
Benedict Cumberbatch listed alongside Ejiofor, it should come as no surprise
that the acting remains solid throughout. With each visibly throwing themselves
into the role, the film is given a feel of legitimacy even as it shows them in
the worst light. Often an issue with films attempting to depict events being
based upon a non-fictional tale or account of a historical figure is that the
bigger the names become, the harder it is to buy into the tale’s truth. This
never manages to be the case here, as the way it is shot, the mannerisms taken
on and the attention to detail significantly helps build a wall between what is
on-screen and any outside connections.
The camerawork itself is a thing to truly marvel at. While
the visuals never fail to hit home just how traumatic life was for slaves in
New Orleans, it does not attempt to ignore the beauty of the location. Sharply
and greatly contrasting with the subject matter, at many points the camera
gives great views of the lands around and captures the bright colour of Northup’s
surroundings. A choice which allows the film to give some much needed tonal variety
to events. It never veers away from the horrors it is trying to depict and the
problems, but at the same time it finds ways to prevent them overwhelming the
audience. Even if this is primarily done through visuals, it still proves to be
enough to prevent the film becoming one note.
All of this is used to build an atmosphere of hostility and
submission within the film’s sets which almost seem surreal in their
effectiveness. Depictions of the almost casual acceptance of the unfairness of life
there are hard to accept initially, but it is so carefully built and crafted
you soon find yourself reality believing the state of life there. The most
effective moments of this, such as when Northup is strung up only to have life
continue on as usual around him, are some of the film’s most powerful scenes
and display McQueen’s talent as a director.
Combined with a tight script which knows exactly how to pace
itself, 12 Years A Slave is well
deserving of every award it is nominated for. This said, it is hardly without
problems, many of which originate with the characters, despite the talent of
the actors involved.
Even ignoring Brad Pitt’s role as a deus ex machina on legs,
the film has the unfortunate habit of attempting to push its subject matter too
far. While Northup’s situation would be horrifying no matter the status of the
person involved, the audience is required to believe that he was a very well
respected and accepted individual in Saratoga despite the colour of his skin. Someone
with very few apparent problems with locals, and no backlash or problems being
raised upon his disappearance. Or even mention of how his family could afford
to keep living their lives for over a dozen years without him bringing in
money. This causes a small break in the reliability of his position as the
teller of the tale, which only becomes worse once the film starts to cover a
scene he was no part of.
This question of the tales reliability is only increased
with seemingly contradictory actions by a number of the slavers in order to
present greater brutality on their part. In order to do so, the film seems to
ignore their value as a commodity, damaging or killing them when it would not
be in their best interest to do so. Even accepting that this was the result of qualities
unique largely to them, it presents them as very one-note characters with
little to no method to their actions. Hatred simply isn’t enough, and while the
actors’ performances are usually enough to make the audience overlook this
issue, it causes another weakness in the tale. Turning what was a morally wrong
but complex industry into a series of sadistic acts.
Despite these problems however, 12 Years A Slave is truly a phenomenal piece of work. Where the
script fails, the actors pull through and in terms of visual direction it has
to be one of the best films of the last year. While many scenes make the film
disturbing and will make any audience watching it uncomfortable, which was a
definite must given the subject matter, it’s nevertheless a remarkable
production well worth your time. See it if you get the
chance.
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