12 Years a Slave: A horrifying and unflinching look at America’s original sin
By: Briege McGarrity
Almost every scene in the penetrating film, 12 Years a Slave, is painful to watch. Set in the pre-Civil war, it tells the true story Solomon Northup (Chiwetel Ejiofor) a free black man who was drugged, kidnapped and sold into slavery. Separated from his wife, children and refined life, Northup struggles to cope with his hellish new existence at plantations across New Orleans.
Controversial artist turned filmmaker Steve McQueen must be admired for his visceral and uncompromising cinematic style – think Hunger and Shame. An Englishman tackling Southern slavery is not easy, making 12 Years his most ambitious film yet. McQueen has made a star out of Michael Fassbender, showcasing his talents through interesting, albeit queasy roles. This time, the handsome Irishman plays the part of Edwin Epps, a brutal plantation owner and an alcoholic, who prides himself on degrading slaves and torturing them physically, mentally and sexually. In one of his most sadistic acts, he forces Nordup to whip his favorite female slave (an outstanding Lupita Nyong’o). The scene is very powerful and no doubt helped all three actors garner award nominations. Chiwetel Ejiofor delivers a terrific lead performance as the tragic victim who endured unspeakable cruelty yet still manages to maintain his dignity.
The film has a strong supporting cast. McQueen gets a good turn from actress Sarah Paulson as Epp’s vindictive wife. Paul Giamatti is convincing as a repulsive slave trader who heartlessly separates families if the price is right while Benedict Cumberbatch plays a master who oscillates between human and then weak. Co-Producer Brad Pitt plays Bass, a nice Canadian abolitionist who acts as the crucial messenger for Nordup, whom he respects: “You’re well travelled for a slave” he remarks in a slightly phony sounding drawl. Pitt’s character is free from cruelty and abuse and they are few between in this film.
Hans Zimmer’s haunting score, the beautiful photography, relentless camera close ups, costume and set design all help to elevate the film. I would consider 12 Years a Slave a Masterpiece but with flaws. You can almost feel the blood, sweat and tears of cast and crew working tirelessly to get Nordup’s memoir correct. Yet, I am not entirely convinced that it will sweep the Oscars. At every turn McQueen makes sure we are uncomfortable so much so, that the protagonist starts becoming an abstract character in a story where violence and abuse dominate.