12 years a slave: The Modern Masterpiece

I can’t promise that you’ll be able to watch this film to the end. I can’t promise that you’ll leave the cinema unscathed. But I can guarantee you’ll struggle to forget the experience of 12 years a slave.

Director, Steve McQueen presents an increasingly difficult watch that refuses to accommodate our modern palates. As we see through the eyes of captured men, we experience the institution with their wide-eyed horror and disbelief. The film destroys any notions of romanticism that could surround the era as we’re confronted with humanity at its basest form.  McQueen does not shy away from brutality, but does not glorify or glamorise the violence in the way Tarantino was critiqued (Django Unchained, 2013).


The story begins with a successful black family living in New York. We meet Solomon Northup as he tucks his children into bed and lies beside his wife. He is a talented, articulate gentleman defined by his ambition. With break neck speed we watch helplessly as Solomon falls right into the hands of spineless slave traders. Within minutes we’re made to see Solomon stripped of everything he holds dear and launched into the depths of slavery.


The film is shot through a conspiratorial perspective that places us in the position of a concealed bystander. We view events through bushes, behind or around the corner of housing; intimate enough to witness but at a distinct distance. This angle puts the audience in the heart of the action, but always in the powerless periphery.

Thus, McQueen defies the typical symbols of slavery and places our perspective in a new, unflinching position. As Solomon is savagely beaten on all fours the camera is placed just beside his chin, as if we were lying there beside him. Unlike Tarantino’s slave narrative it is the actor’s reactions to the violence that tears through the audience. As the dignified and gentle Solomon yelps and whimpers in agony we are forced to gaze on his contorted features rather than his faceless back. It is this personification of the noun slave that returns humanity to the story.


Similarly, the strikingly beautiful Kenyan actress, Lupita Nyong’o, gives a heart-wrenching performance in a scene that reduced the men in the cinema to tears. As the slave Patsy is subjected to a horrific whipping the lengthy scene is filmed within arms reach of her face. We are forced to meditate on the torture of this woman; McQueen doesn’t cut away, so the audience never get a chance to catch their breath. Micheal Fassbender admitted to almost fainting during the filming of the scene. It was announced today that Lupita has been nominated for the Breakthrough Performance Award at the 25th annual Palm Springs International Film Festival.

DF-03188.CR2 DF-03188.CR2

McQueen utilises the techniques that made ‘Shame’ such an uncomfortable watch to full effect in this biopic. His signature longs shots are disturbingly raw, forcing a reluctant audience to gaze at length at the most unsettling aspects of slavery. Later, the slaves mill around the plantation undisturbed as the air is punctured by the rhythmic sounds of men being whipped. The film is a further revelation of intimacy in the most uncomfortable manner. As her master, Epps, rapes Patsey we are made to watch the whole ordeal, with the most upsetting part being her quiet acceptance. She doesn’t struggle, and appears too stunned to move when he finally abandons her.


The film breaks new ground in portraying the multiplex of complicated scenarios that sprung out of such an inhumane institution. Micheal Fassbender gives a career defining performance that should definitely earn him the ‘Best Supporting Actor’ award at the 2014 Academy Awards. He is unrecognizable as a tormented and conflicted slave owner driven by impulse and madness in equal measure. His character, Edwin Epps, provides the film with its richest sub-plot and poignant interpretation.

While it is clear that he is infatuated with his slave, he loathes himself and her for it. We watch as his psyche unravels, and he buckles beneath the pressure of his own contradictions. How can he justify his adoration for the ‘property’ that he repeatedly lusts after? This is McQueen’s clearest reading of a mutually scarred nation; despite their positions and predetermined place in society, their human instincts override what they ‘should’ feel. Benedict Cumberbatch’s portrayal of slave master Forbes is similarly a conflicted participant in the cruelty.

680x478 British born Nigerian actor, Chiwetel Ejiofor demonstrates such a deft ability to convey so much with so little. As the main character, Solomon is not given a huge proportion of dialogue but communicates what words cannot. His performance is tinged with the kind of compassion and empathy that is touching to see. The film places the crew in positions completely opposite to reality. McQueen is a Trinidadian descendant of a slave married to an English woman, while Michael Fassbender has dated a number of African-american women, including his Shame co-star Nicole Beharie.

12-years-a-slave-review-3The credits were met with an eerily silent cinema, a silence thick with emotion; each person seemed to be coming to terms with the reality of the situation. I felt hollow, with a deep penetrating sadness that was indescribable. Solomon’s tale was the happy ending, the grim fairytale amongst absolute desolation. He is finally able to prove his identity and thus his freedom is granted by Brad Pitt’s character.

The fact is, millions more people would never see their children again, would never feel human. It is the reason the scars still resonate within the black community, it is the reason why I have the surname ‘Richardson.’ Multi-millionaire Edmund Richardson, was known as the richest man in the South and the largest cotton planter in the world, owning five cotton plantations. Perhaps my ancestors were traded through his hands, manipulated and destroyed to his merit. It is difficult to know that that wealth was bought with the blood of my ancestors.

9781435152182_p0_v1_s260x420The next day I visited the local Barnes and Noble and bought a signature edition of Solomon’s tale. The sleeve reads:

‘This is no fiction, no exaggeration. If I have failed in anything, it has been in presenting to the reader too prominently the bright side of the picture.’

It is for his honour that this story can never be forgotten. On the 6th November 2013 the BBC reported that the History channel had confirmed the rights to remake ‘Roots’ the ground-breaking slavery series derived from Alex Haley’s novel.

With the release of Lincoln, Django Unchained and now 12 years a slave, it would seem we are finally, finally ready to acknowledge a wound too ugly to conceal. As we learn, we can’t help but grow. Perhaps one day we’ll hold a minute’s silence for the people who experienced a death of the mind, maybe we’ll wear a pin on our lapels to respect those that were denied their humanity at every turn. And maybe we will finally achieve the racial reconciliation and healing that has escaped us thus far.

In Cinema’s globally, January 24th 2014.


6 responses to “12 years a slave: The Modern Masterpiece

  1. Its hard to find words for this! Its definately a must see for me after reading this (p.s i’ve learned something new about our surname!) …brilliantly described

  2. I remember your Django review so I was expecting this one to be just as brilliant, I looove the way you write Ravae, you’re a pro! You didn’t give anything away, just enough back story. The trailer gives me goosebumps every time, this one is definitely more serious and emotive than Django and with the film being directed by a black man with a known connection to slavery I will appreciate the film even more. I’m scared I won’t be able to sit through it since you said there is a rape scene. Is it really brutal? I couldn’t agree with you more about us finally getting some recognition about some of our history and us one day having a minute silence or wear pins in memory of it all. It’s not enough that we have some dead Black History Month plus African/Black history in schools are non existence and that is not right. It just bring me back to people who were outraged by the fact that newsreader Charlene White refused to wear a poppy on television. Why should anyone whether they are Asian, Black or White feel forced to wear a damn poppy! I’m so happy she stood her ground, I know if I worked for ITV or whatever I wouldn’t wear one it doesn’t have any symbolic significance in my life. I was reading something about African names earlier today, so when I read that bit about the history of your surname I was like wow that’s actually terrifying. I have an African surname and so does practically everyone in my family so I don’t know how I would trace that sort of information you found.

  3. What can I say cuz? I felt like I was on indie wire reading about the latest film AMAZING . So true in every way could I watch this film again ? I don’t know but I relived every minute of it just now reading your piece. I predict great things for you cuz -Real talk.

  4. Ravae!! What an amazing review! You truly are a wordsmith. I will definitely watch it when it’s released and let you know how I feel! It’s so true…we are finally having some light shone on the real struggle! xxxxx

    • Thank you so much for your feedback. i know this is an issue that is still so important, and it’s comforting to know that dispute our removal from the situation, we can still feel compassion. Please comment on here when you go and see it. just over two weeks until the UK release xxx


Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s