12 anni schiavo

Let's be honest about it: this spotlight on the darkest days of American history is a particularly British triumph. The brilliant director (and artist) Steve McQueen and outstanding Chiwetel Ejiofor, as the eponymous Solomon Northup, are both British; even Michael Fassbender, in the main support role as a sadistically brutal slave-owner, is half British; and Benedict Cumberbatch makes an appearance as a 'kinder' slave owner.

But, of course, there is a vast array of American talent here too. As always, Sean Bobbitt is inspiring as director of photography, making full use of the Louisiana locations. And a host of fine US actors make cameo appearances, notably Brad Pitt (who was one of the 10 producers), Paul Giamatti (looking as if he had walked straight out of the TV mini series "John Adams"), Sarah Paulson and Alfre Woodard. In her first film role, Lupita Nyong'o gives a heart-rending performance as a young slave who is horrendously abused. Original music by Hans Zimmer and use of contemporary songs add to the searing atmosphere of the work

McQueen is unrelenting in his focus: except for short pieces at the beginning and the end of the film, all the time is the period in captivity and, except for occasional glimpses of humanity, we see the slaves subjected to humiliation and horror again and again and again. McQueen's style is slow and penetrating with some long and wordless scenes totally captivating.

As a piece of social history, this movie is simply stunning - a virtual blow to the solar plexus. As a cinematic work, it has some challenges: there is no conventional narrative arc in which a plot unfolds or a character develops because Northrup is confined to a small geographical space where he can only survive by keeping as low a profile as possible; the characters are literally black and white with little subtlety or nuance; and there is not really a sense that the period of incarceration is more than a decade.

At the start and finish of the film, we are reminded that this is a true story based on the book written by Northup in 1853, once he finally re-acquired his freedom (in a pedestrian act of bureaucracy rather than anything more dramatic or violent). As if Northup has not suffered enough, we learn that his legal actions against both those who sold and bought him failed in the courts. A special award should go to McQueen's Dutch partner Bianca Stigter who discovered Northup's book and recommended it to the director.

If any contemporary director deserves to be in the mainstream spotlight without compromising their style, it's Steve McQueen. His debut, Hunger, already had the hand of a confident filmmaker taking a fly-on-the-wall style to the grimy art-house. Shame was one of the finest films of its year for its impeccable depiction of an addiction to one of humanity's primal survival instincts resulting in self-destruction. I'm so happy that his latest film has gracefully conquered early Oscar favourites from the output of David O. Russell, Martin Scorsese and the now delayed film from George Clooney to become this year's Oscar frontrunner. During its festival run when the buzz first began, I took it upon myself to read the screenplay. While I can usually sink scripts within a few hours, the poetic density of 12 Years A Slave took several sittings across a week or two. Even on the page it was a harrowing, exhausting experience. It's a film that needs a have a gut to truly display the length of time, but the script is bloated in its brilliance.

Naturally, scenes were cut (whether in the editing room or pre-production I don't know) and that's a blessing and a curse. Now in the film, we rush to Solomon Northup's capture, opening with scenes we shall revisit later on. I understand the decision to enter the world as quickly as possible, but I do feel it hurts its first act. As much as I jump for joy every time Scoot McNairy hides himself in a film, the transition from ordinary life to becoming kidnapped feels jarring and contrived. Who is Solomon Northup as a free man? What does he want? Maybe we don't know because there is no source for the matter. Maybe McQueen isn't interested in telling that story. At the very least, we definitely know that Solomon is a compelling character during his capture. Chiwetel Ejiofor is an actor I've always liked but he's never made an impression until now. His passion and commitment to his portrayal of Solomon is utterly captivating. While he can slink into the background of some scenes where he is not the focus, when it's time to shine he bursts a fuse.

Unfortunately during this cluttered first act, it concerns itself too much with subplots that we know will not succeed. While they accomplish establishing the stakes at hand and rule out the 'why doesn't Solomon just…' there's just too many abridged tales. Perhaps this is distracting just because I know the full stories from the script, but they should've went all or nothing with them. It results in editing that frustratingly refuses to let us into Solomon's headspace. We're along for the ride, but too frequently not Solomon's ride. During then we only get rare and rewarding glimpses into how he feels and his perspective on his past life stolen from him. Fortunately the film vastly improves once Solomon is free from the deliciously cruel Paul Giamatti to the spiteful live-wire Paul Dano. As the film focuses on his one-on-one conflicts and moral dilemmas, the film reaches intimate and truly challenging moments which is where the film's power lies. Fruitless subplots are dropped in favour of heartbreaking ones as we're introduced to the pitiful Patsey on the pathetic Edwin Epps' plantation.

Michael Fassbender and Steve McQueen have been one of the most enthralling director/actor combination in recent years. They always bring out the best in each other. Here, it feels like they've reached their finest work yet, but still feels like their collaboration has just began. Fassbender's Edwin Epps is the film's most fascinating and complex character, a man who sincerely refuses to believe he is evil. He demonstrates the thesis of the film in that the authoritative caucasians didn't believe they were doing anything wrong. Many people have laid claim that he is pure evil, but I don't think that's the point, he belongs in a misguided world where he thinks his lust and affection is apt praise for Patsey's talent. While I may not have sympathy for him, he is a tortured soul, a regrettable and irreversible tragedy of mankind and this is thanks to Fassbender's incredible performance. His victim Patsey, played by talented newcomer Lupita Nyong'o, is an utter revelation. She may not have a fully developed character but in at least two powerful scenes, she makes the best out of what she can for a character that warrants the tears you will inevitably shed.

One of the most consistent aspects of McQueen's films is the magnificent taste in cinematography and production design. Presumably from his art background, he's great at immersing you into his bleak visual worlds. Working with Sean Bobbit again, the cinematography is reliably enchanting. In true McQueen style, if a character must endure patiently, in this case Solomon hanging from a noose on the tips of his toes, we must endure with them. No shot this year, not even in the extraordinary Gravity, has been as stunning and unforgettable as the infamous long take of Patsey's lashes. It's a filmmaking masterclass in just a few short minutes. Despite the shaky first half hour, it's all redeemed in its harrowing final 15 minutes. It's the greatest sequence I've seen in a long time and I've never had a scene make me a blubbering mess quite like it. Yes, the jump to his kidnapping feels abrupt and there's no sense of relief to his inevitable freedom, but this is all calculated to mirror the struggle of his experience and we've felt every beat. 12 Years A Slave is a powerful testament to the endurance of the human spirit with its theme of injustice applicable to any point in history that earns the right to be one of the best of the year. After a string of lightweight Best Picture choices from the Academy, this will be a refreshing choice.

9/10

I watched this movie right after reading the book and it felt like watching the summary of it. Events mentioned in the book are presented mostly accurately but some events are squeezed to save time. Plus, I didn't feel like emotions of the book portrayed as well as they are portrayed in the book. For example, Solomon's life before enslavement and Eliza's Separation with kids, which is very emotional and difficult part of the book, seems rushed over. Probably because of it, viewers of movie can't connect with this part of story as well as the readers of the book. They also skipped one important event mentioned in the book. Solomon had a fight again with Tibeats and he successfully escaped to save his life but after some time, he returned back to Ford. They also didn't mentioned that why he didn't escape, like there were guards, hired by planters, patrolling the roads and anyone can ask slaves for the travel paper and in the absence of it can hand them over to authorities. There are also some other events mentioned in the book skipped in the movie for time or some other reason . Anyway, it is still a good movie and people who haven't read a book probably will enjoy mor.

chitchens fan • 2 hours ago △ ▽

−

Well, to begin, I cannot remember the last time I could not get up at the end of a movie. I literally could not rise up from my seat. My body felt as though it were being weighed down by something considerably larger and heavier than myself... History had it's way with me( I am an African American woman). Thank you Mr. McQueen, Mr. Ejiofor, Ms. Nyong'o, Ms. Paulson and others, and yes, even Mr. Fassbender. I am not a film critic nor a movie hobbyist, although I try to stay current, but what I am is a human being trying to understand the various problems and issues within our country. This movie is a potent reminder of why we are where we are as a society today. How man can be so unflinchingly cruel to his fellow man, especially if he looks, speaks or behaves differently, I will never understand.

A random and encounter has led Solomon Northup from living freely in New York to being kidnapped and sold into slavery in Louisiana, getting handed over to various slave owners. There, Solomon witnesses numerous acts of cruelty that no man should ever face.

As I stared at the movie screen with full dread, I was reeling back at certain scenes I had just witnessed. There were good films and television shows about slavery before, and they had various nuances at how to tackle slavery. This film is part of said resurgence of the sub- genre, hot on the heels of "Django Unchained" and "The Butler". But while the former relinquishes on Spaghetti Western entertainment more than attempting to address the issue in a political light as the latter, Steve McQueen's "12 Years a Slave" shuts those two up, and perhaps the entire sub-genre, for good. I doubt any future slavery-themed film will be as harrowing as this one was.

Steve McQueen is a fearless filmmaker, continuing his streak of unfiltered brutality within human depths. He frames his actors' faces in extreme close-up, the eyes staring into despair, the nostrils fuming in aggression. Naked flesh are shown not because of erotic content, but rather because of desperation and futility. Long takes and wide shots are not uncommon in his films, and here they showcase a plethora of fantastic scenes and performances that work to discomfort the viewer as much as possible. McQueen doesn't just allow the audience to tackle slavery, he guts the audience and leaves them for the consequences. This is an extremely uncomfortable film to watch. Beautifully shot locations are placeholders for unsettling sequences before and after, contemplated by Hans Zimmer's poignant and at times horrifying score. This all works to create a nightmarish time and place where hell walks on Earth.

Central to all of this is the performance of Chiwetel Ejiofor as Solomon. Ejiofor showcases that he is a natural force to be reckoned with in this film, after a decade of mostly supporting characters. He spaces out in despair as the camera lingers onto him for solid minutes, not a word spoken. Another sequence shows him mourning the death of a fellow worker, in which the singing of the surrounding group compels him and shakes him down to tears. These scenes follow earlier ones where he is a classy, free man in the upper states, mingling happily with the crowd and partaking in fanciful music sessions. It is a tour-de-force performance.

A fine ensemble of established and up-and-coming actors surround Ejiofor in his limelight - Paul Dano, Paul Giammati, Alfre Woodard, Sarah Paulson, even Brad Pitt and Benedict Cumberbatch, but none so ferociously as McQueen regular Michael Fassbender as the despicable, sadistic plantation owner Edwin Epps. So excellent and terrifying is Fassbender's portrayal of such a merciless and barbaric person, that the mere sight of him will either cause audience members unfamiliar to him to flinch.

I was left speechless as the credits rolled. A lesser film would have added tacked-on sentimentality/exaggeration and politically influenced claptrap. Not this one. This is a movie to watch as a reminder of how powerful the human spirit can endeavor, and how lucky all of us have grown past that dreadful time in history. The full effect of it has not been felt in movies before, until now.