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Author Topic: 12 Years a Slave  (Read 3699 times)

chrisbs

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12 Years a Slave
« on: October 20, 2013, 11:49:40 AM »
What to say about this film? I was fortunate enough to see it just yesterday at the London Film Festival and I'm still some way off shaking it. The word "powerful" is overused when describing films, I know it is something I am guilty of, but I can think of no other word to sum up 12 Years a Slave. It is unflinching in depicting the reality of slavery, McQueen delivers a painful portrait of man's inhumanity to man and their were many scenes I had to look away. I cried, I despaired, and occasionally I hoped. I thought that Michael Fassbender, Chiwetel Ejiofor, and Lupita Nyong'o were all outstanding. Many of the images are unforgettable (the plate of blackberries catching the evening light, Solomon burning that letter) as were the sounds (the engine of the boat taking them south filled me with dread.) I plan to start reading the book tomorrow.

If you're interested I have written a full review, be advised it is rather long:

http://amatteroflifeandfilm.blogspot.co.uk/2013/10/lff-12-years-slave.html

Smiley

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Re: 12 Years a Slave
« Reply #1 on: October 21, 2013, 05:51:46 AM »
I was prepared for how sadistic Epps would be, but not how darn creepy he was. There was just something unnerving in his eyes, especially with his obsession with Patsy.
The thing that really struck me as weird was getting the slaves up to dance in the middle of the night. It wasn't even a status thing, showing off his slaves to other plantation owners, it as purely for his on amusement.
And the scene where the slaves come back and he's being very nice to that small child. I'm assuming that maybe she was a daughter Patsy had by him (it's possible, I think I read that Northrup was on that plantation for 10 years and the girl looked 5/6), but even so seeing him be so nice to anyone really weirded me out.

KristinKreuk

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Re: 12 Years a Slave
« Reply #2 on: October 24, 2013, 02:08:35 AM »
There's been a hype going on that this movie might win the Best Picture at the Oscars.

Junior

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Re: 12 Years a Slave
« Reply #3 on: November 02, 2013, 10:06:28 PM »
The impassive, watcher status of Solomon throughout the film really worked for me, especially as it highlights the moments when he does interact with those around him. This is most powerfully demonstrated in the scene/shot I nominated for a Filmspot. He's buried a slave who died suddenly in a field then a group surrounds him to grieve and sing Roll Jordan Roll. He stands stoically for a while, refusing to get involved more than he must and give into his status as a slave. Then the immense sadness of the situation and his own circumstance overtakes him and he begins to sing along, slowly and quietly. He builds and builds line by line, all the while showing more emotion than he has since getting duped into his situation. McQueen stays close and refuses to cut while all of this happens and it's the saddest thing.
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Alan Smithee

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Re: 12 Years a Slave
« Reply #4 on: November 09, 2013, 07:44:31 AM »
At times it felt like the score was trying to hard to do Johnny Greenwood, i think they would have been better off doing something simple and more like Ain't Them Bodies Saints score.


Oh yeah and Sal with a beard!

jdc

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Re: 12 Years a Slave
« Reply #5 on: November 22, 2013, 02:27:15 AM »
Just listened to Armond White crap all over this on /Filmcast...  He says don't waste your time and just watch Amistad and Beloved which are much better and have a lot more to say about Slavery than this piece of "torture porn"

If they wish to have him on from time to time, why not find something he actually likes instead of something where he can only dismiss everything about the film and film maker. 

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Sam the Cinema Snob

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Re: 12 Years a Slave
« Reply #6 on: November 22, 2013, 07:26:45 PM »
12 Years a Slave

The freeman Solomon Northup (Chiwetel Ejiofor) is kidnapped and put on a slaver boat. One of his fellow prisoners bemoans the wretched state of Black slaves, looks down at the “n****ers” around him. Once the boat arrives at the destination, his master is waiting. He passionately runs to his master, clinging onto him lovingly. All pretense of being jaded is abandoned to cling to a man who owns him. It’s the moment where 12 Years a Slave becomes more than just one man’s true story.

While the film’s context is slavery in The American South, there’s something more to the idea of slavery in the film. It’s not a story of survival; Solomon does not look deep within himself to find a seed of strength that keeps him going. By the end, there isn’t a sense of human triumph. The film certainly doesn’t pull any punches depicting the sadistic evils of slavery, but it’s not a film about moralizing. And it doesn’t feel like it’s a political film although there’s opportunity for plenty of race commentary.

Perhaps the best way to understand the film is to begin at the ending. Solomon, finally rescued by a friend from the North, enters his home to see his family for the first time in 12 years. He asks his wife and children to forgive him, to which his wife replies as the family embraces him “There’s nothing to forgive.”

Backing up a bit more to when Solomon is rescued, he must confide in Bass (Brad Pitt), a man who expresses sympathy towards Black slaves. For 12 years he might have escaped, in one scene, he even considers it, but is scared back into the arms of his master when he stumbles across a lynching. In the end, his rescuing is not a result of his own actions, but at the mercy of others.

12 Years a Slave is about being completely and utterly powerless. When on the slaver boat, Solomon speaks of taking over the boat, but soon the fear begins to gnaw at him, he sees what happens to those who take a stand and he becomes complacent. There’s still a streak of independence in him, he takes a stand from time to time, and more than a few beatings, but his spirit is always quashed and crushed back into complacency.

A slave has no power. He’s at the beck and call of his master. Solomon plays beautiful music on command just as he later brutally beats his fellow slave when told to by his master. There is no will there, only submission. When he shows more will than that, it comes back to haunt him. Even the overseer who saves him from a lynching leaves him dangling merely an inch from death for hours until his master comes to cut him down. He brings him into his home and protects him from those who seek to end his life.

The film does distinguish between two kinds of masters. Solomon’s first master is Ford (Benedict Cumberbatch), a man who shows some sympathy towards his slaves. He gives Solomon a violin of his own. Ford also preaches to his slaves, passages from the Bible clearly picked to comfort. In contrast, Solomon’s second master, Edwin Epps, uses the Bible as a justification to beat his slaves.

If the film wanted to be about justice, getting back at slavers and slave owners, the closing title cards demonstrate that there is plenty of history the film could have drawn from. Instead, it ends with Solomon reunited with his family. But far from being a rousing reunion, it’s empty, somewhat tense. Solomon comes his family unable to restore 12 lost years. All he can say is that he’s sorry. Some might consider it tragic, but there’s something beautifully moving about his final surrender to his family.

That kind of storytelling takes maturity. It could have gone on to explore the injustices, or tried to find some way to make Solomon strong, but it’s ultimately his weakness that makes him compelling and sympathetic. Instead of changing that, the film embraces that weakness in the final moments, which is the film’s ultimate strength. All he can do is fall into the arms of those who love him.

FLYmeatwad

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Re: 12 Years a Slave
« Reply #7 on: November 22, 2013, 08:40:24 PM »
Yes, the examination of how power exists in society and how that idea can be manipulated is the film's greatest strength to me. The way this dynamic is presented and broken down was what I latched on to the most. It makes me want to read more Baudrilliard and understand him better, which I guess is the highest praise I can pay to any film.

Great write up, Sam.

1SO

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Re: 12 Years a Slave
« Reply #8 on: December 15, 2013, 01:35:28 AM »
The impassive, watcher status of Solomon throughout the film really worked for me, especially as it highlights the moments when he does interact with those around him. This is most powerfully demonstrated in the scene/shot I nominated for a Filmspot. He's buried a slave who died suddenly in a field then a group surrounds him to grieve and sing Roll Jordan Roll. He stands stoically for a while, refusing to get involved more than he must and give into his status as a slave. Then the immense sadness of the situation and his own circumstance overtakes him and he begins to sing along, slowly and quietly. He builds and builds line by line, all the while showing more emotion than he has since getting duped into his situation. McQueen stays close and refuses to cut while all of this happens and it's the saddest thing.

Watch the film tonight, and this was the one standout scene. What struck me first, before Solomon nails his acting nomination, is the way the scene begins on a close-up of the woman's face. It holds for about 10 seconds, almost like a pre-roll before the director calls action. I can't comment on the decision except to say I don't think the scene would've been as powerful without that pause. It set me up. I sensed something memorable was about to happen and my flagging interest peaked, left me anticipating what was to come.



Leave it to Paul Dano to play the one white guy in a film about slavery who gets the crap beat out of him.


Love this quote, which sums up my opinion on the film.
Quote from: Matt Singer
Wouldn't say I was underwhelmed, but I wasn't entirely overwhelmed either. I was plain old whelmed, I guess is what I'm saying.
« Last Edit: December 15, 2013, 01:56:27 AM by 1SO »

Totoro

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Re: 12 Years a Slave
« Reply #9 on: December 29, 2013, 09:17:24 PM »
There are few words to describe the power of this masterpiece.

I don't even want to try.

 

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