12 Years A Slave

 

12YearsASlaveNew Year’s Resolution: if you can’t find anything interesting to say then keep it short.

Case in point: 12 Years A Slave, Steve McQueen’s adaptation of nineteenth century black musician Solomon Northup’s 1953 book of the same name. Northup was kidnapped and sold to a succession of plantation owners, under whom he witnessed and experienced barely imaginable cruelty. The film’s been garnering five star reviews for months and is as surefire an awards-magnet as I’ve ever seen for its theme, its pitiless but never gratuitous depiction of the barbarity and degradation of slavery, the skill and judgement of its makers (despite all the horrors here they still managed to bring it in as a 15 certificate) and the quality of the acting, particularly Chiwetel Ejiofor as the brutalised Northup, Michael Fassbender as his drunk and sadistic “owner” Edwin Epps and Lupita Nyong’o as an unfortunate girl who Epps has taken a perverse shine to. I could go on for another few hundred words, many of which probably be along the lines of “searing” and “unflinching”, but others have said it much better elsewhere. It’s pretty much a bulletproof classic. I will however throw in a couple of observations: firstly, that I did very much enjoy Paul Giamatti’s cameo as a silver-tongued slave dealer (“my sentimentality is the length of a coin”) and secondly, that it did leave me with a yen to dig out the old mini-series Roots. My guess is that while it would probably come across as a lot more stagey and a bit less intense than McQueen’s film it would still make a good point of comparison and stand up well, if only for showing the monumental effects of slavery on successive generations rather than one displaced man.

 

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