Review: 12 Years a Slave

The true story of Solomon Northup (Chiwetel Ejiofor), an African-American and a ‘free man’ (with a wife and kids, too) from New York who is abducted, transported to the South, and sold into slavery. At first he’s the property of plantation owner Benedict Cumberbatch, who is somewhat well-meaning and kinder than most. Unfortunately, he is constantly picked on by nasty foreman Paul Dano (Why is it always the foreman who is a brutal prick in these kinds of stories?), so Cumberbatch has him sold elsewhere for fear that Dano will kill him otherwise (or maybe it’s vice versa?). Sadly, his new master, played by Michael Fassbender is a cruel and brutal man, who has a thing for one of his female slaves (Lupita Nyong'o), which makes his wife (Sarah Paulson) jealous and spiteful. Really, really spiteful. Will Solomon ever regain his freedom and see his family again? Michael K. Williams plays another slave, Paul Giamatti plays a slave trader, and Alfre Woodard plays a slave turned kept woman of her owner (!), thus enjoying more privilege and position than most at the time. Brad Pitt has a cameo near the end as a free-thinking, humane carpenter.

 

Although I whole-heartedly enjoyed Quentin Tarantino’s “Django Unchained” (his best film to date), I have to say that for me, after watching the TV miniseries “Roots”, I feel like any other media representation of the horrors of African slavery pales in comparison to that shattering experience. I know QT isn’t a fan of it (for completely ridiculous reasons that you can read about online if you wish), but I was drained, horrified, compelled, and in many ways felt enlightened by that landmark TV series. It may not have been a true story in the sense that Alex Haley tried to stamp a personal historical connection to it that has been since debunked, but as a representation of slavery through several generations, I reckon (from my not terribly informed POV) it’s still tough to beat. Brit director Steve McQueen (“Shame”) and screenwriter John Ridley (head writer on “The Wanda Sykes Show”, he also wrote the story “Three Kings” was based on) give us another supposedly true account of slavery, based on the book by Solomon Northup, and indeed I hear that its basis in fact holds up pretty well. It’s also a fairly solid film. It is not, however “Roots”. It’s also not one of the stronger Best Picture Oscar winners, though to be fair, it’s not fucking “Crash”, either. So just be aware that this review won’t be the strongest recommendation you’ll ever read, but I can’t give it a poor score, either.

 

I knew this film wasn’t going to teach me anything new, the moment we got the whole ‘tell no one you can read or write’ deal. That one’s straight out of “Mandingo” for cryin’ out loud (Sarah Paulson’s wife shows similarities at times to Susan George’s character in “Mandingo” too, albeit subtler). Well, at least that’s one good thing I can say about this film, it’s better than “Mandingo”. So is going to the dentist. “Roots” said it all, whilst films like the underrated “Skin Game” and “Django Unchained” found a different way to say things. But McQueen seems to think that simply basing things on a true account gives him and Ridley the right to give us something we’ve seen countless times before. They kinda get away with it, but not nearly as much as you dearly want them to.

 

As cinematographer, Sean Bobbitt (“Shame”) gets the easiest job in the world here, just point at that absolutely gorgeous scenery and shoot. It’s an extremely well-shot film that pointedly contrasts the beautiful landscape with the brutal, savage, and disgusting inhumanity on display throughout. Be warned, folks, the first whipping occurs 15 minutes in and it’s about 100 minutes left on the clock. Fun doesn’t exist in this dojo. While I don’t think McQueen deserved to win Best Director, nor the film Best Picture (Of the nominees, it should’ve been “Gravity”, but “Saving Mr. Banks” was my favourite film of 2013), but I’m not going to complain about Lupita Nyong'o winning Best Supporting Actress. Dame Judi Dench won an Oscar with less screen time, and Nyong’o towers over a cast that does not deliver a single bad performance. She’s absolutely heartbreaking, and she did not win simply because of the on-screen torture her character endures. That’s a gross and unfair simplification made by some. I was a little worried about Chiwetel Ejiofor’s performance just judging it from the trailers where he sounds like an Uncle Remus stereotype. What a misleading trailer then, because although I don’t think he was robbed of an Oscar (Matthew McConaughey deserved his win, with Bruce Dern in close second for me), he’s better than expected and quite solid. I just think others in the cast out-do him, like Nyong’o, and a surprisingly brilliant Paul Dano. I had massive problems with Dano in the otherwise fine “There Willl Be Blood”, but here cast as a slimy racist moron, he’s perfect. It’s the kind of part that if made in the 40s, would’ve gone to Dan Duryea. This guy’s a racist scumbag, but hardly a thinker. I mean, if you’re gonna be a racist scumbag, it’s probably a good idea if you’re bigger and stronger than the intended target of your racism, or else you’re asking for an arse kicking at some point. What an idiot. Oscar-nominated Michael Fassbender impresses too, and he immediately makes an impression as the worst kind of slave master, the kind who justifies his brutality through scripture. This is the kind of performance that could’ve gone horribly wrong if Fassbender were any lesser an actor. His refusal to ham it up- to the point of almost underplaying the part- is commendable. Less is indeed more, he ain’t no James Mason resting his feet on black children in “Mandingo” whilst butchering a Southern accent, that’s for damn sure. It’s a nicely modulated performance. Paul Giamatti is terrific in a role that strangely enough isn’t too far removed from a character he played in a certain Tim Burton movie. I also enjoyed the brief but excellent work by Michael K. Williams and Alfre Woodard in a most interesting role, whilst Garrett Dillahunt also plays his role well. There’s nothing wrong with Brad Pitt’s performance towards the end, but his presence, casting, and facial hair are regrettable, taking one out of the film momentarily at precisely the wrong time. Next to the horribly insistent music score by Hans Zimmer (“Gladiator”, “Inception”, “Man of Steel”) and the overall sense of déjà vu, Pitt’s presence (meant to secure funding and put butts in seats, no doubt) here is one of the biggest problems in the film.

 

This is a solidly made film that might prove rather enlightening and engrossing for those to whom this material is quite fresh. For me, the only fresh aspect here is that Solomon Northup started out as a free man, abducted and sold into slavery. That gives us an interesting new beginning, but it’s merely a new entry point into a story we’ve seen thousands of times before. Since “Roots” already did this infinitely better, my interest here was a tad limited. Yes, this one’s more brutal than the TV medium allowed “Roots” to be, but “Mandingo” threw all kinds of sex and violence at us and where did that get the film? This is a nobler film than that one (and there is indeed the argument that stories of great injustices like slavery, the holocaust etc., should be retold so they are never forgotten. I get that, I really do), but being harsh and true aren’t enough to make this one truly resonate for me as a film. Others may disagree, especially if you’re strangely not a fan of “Roots”.

 

Rating: B-