12 Years a Slave isn’t easy to watch, and it shouldn’t be; it’s one man’s tragedy, but it’s also the tragedy of countless thousands of souls beaten down, literally and metaphorically.
Chiwetel Ejiofor is so impressive in this incredibly intense, visceral film. (When it ended, nobody in my theater moved for a period of time, and there was no round of applause mostly, it seemed, because of the shock of it all. Clapping didn’t seem like the right thing to do.) The fact that we experience the story from the perspective of a kidnapped free man makes the film instantly relatable. I was so happy to have watched all of Tom Fontana’s excellent “Copper” which features an African American civil war veteran doctor living in New York, and all of his family’s struggles in Five Points. Solomon, a New Yorker kidnapped from Washington DC, could be any of us. The Southern landscape as it likely existed in those days provides such a beautiful-yet- eerie backdrop to this movie. What I particularly appreciate the fact that all the shots are confined you never see very far into the distance. There’s never any perspective on things. When the boat transporting the kidnapped south moves, you see the paddlewheels. On the plantations, you see the three or four acres where the slaves live. You never get any aerial shots, which is so effective in giving you a disoriented, lost feel. Even if Solomon wants to escape, he has no idea where the hell he is, and neither do we. The acting in general is uniformly excellent. Fassbender? Wow. Not since Ralph Fiennes in Schindler’s List has an actor put out so completely for the detestable guy role and to such great effect I cried...
Several times.
I think it is very appropriate to start my review by saying those words. In an age where showing our emotion in public is apparently a taboo. Needless to say, apart from a few heartless sods, I was not the only one who left the local theatre wiping tears from my cheeks.
Putting it simply, 12 Years A Slave is superb. The way I see it, this should become the staple period-piece film. It is a film that shows us a dark, visceral story of a point in time that the American government would much rather sweep under the rug.
It is a triumphant story of loss and despair, but also of remarkable perseverance and resolve.
The simplicity of the plot leaves the weight of its success on the individual scenes and phenomenal writing. The great cast and setting meld together perfectly.
In a year of phenomenal films, 12 Years A Slave comes out on par with many others, if not slightly above.
I hope that in a few years, this might be the film that is shown in history classes. It is not something that should be watched for the sake of the film, it is something that has to be watched because of the horrific times which its characters live in.
Well-meaning films like “Lincoln’’ and “Lee Daniels’ The Butler’’ merely scratch the surface compared to the deep and painful truths laid bare by 12 Years a Slave. It’s about time, Scarlett O’Hara.
The genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price.
Ejiofor’s tightly clenched conviction perfectly embodies hope and righteousness against all odds. He gives the best performance of his career to date, and what’s more, he gives “Slave” its bruised, beating heart with every scene.
This film noir portrait of corruption and morally-compromised obsessions stars Welles as Hank Quinlan, a crooked police chief who frames a Mexican youth as part of an intricate criminal plot. Charlton Heston plays an honorable Mexican narcotics investigator who clashes with the bigoted Quinlan after probing into his dark past. A memorable
About 15 minutes into the movie, I knew what to expect. Bad acting was very apparent. McQueen (who is british btw) made this movie to provoke a cheap emotional response which is unlined by his own political/social opinions. Just a pandering movie to liberal minded audiences who just love to put racism against blacks in the highlight.
Ce film est vraiment bizarre : il montre avec un certain recul, presque une neutralité (d'ailleurs bienvenue) les horreurs de l'esclavage tout en évitant un pathos excessif et lourdaud comme on peut souvent en trouver à Hollywood dont on sait la propension à faire couiner les violons au moindre prétexte dramatique.
En même temps, il s'appesantit souvent dans le tire-larmes de bas étage mais sans jamais réussir à nous tirer une larme, car la détresse nous apparaît trop éloignée, trop floue et superficielle. Et trop scolaire également. C'est naturellement très paradoxal comme impression et cela nous chiffonne à dire vrai pendant tout le film jusqu'à la fin qui peine aussi à nous émouvoir, trop expédiée et bricolée à la va-vite.
Sans doute le livre de la victime, de ce miraculé est-il plus à même de restituer l'enfer vécu que cette adaptation qui souffle le chaud et le froid. Et pourtant, quelques scènes sonnent juste et la réalisation très travaillée est assurément élégante.
Hélas, cette élégance devient trop souvent maniérée et si statique qu'elle semble engluée littéralement dans la mélasse du film intello qui tient à dispenser son message comme un forcené... alors qu'en fait il se regarde le nombril à intervalles réguliers pendant de longues minutes.
Ce qui m'amène au gros problème de rythme du film, soient deux heures et quart qui en paraissent quatre... un double problème puisque le rythme fictif en pâtit aussi : on ne ressent pas le moins du monde ces douze années terribles qui font l'effet de douze mois, tout au plus. Un comble.
En outre, la musique de Hans Zimmer qui recycle éhontément ses vieux thèmes d'Inception est assez énervante : est-ce qu'on ne va pas voir une toupie à la fin ? est-ce que tout cela est "vrai" ? nous voilà donc aux antipodes des intentions du réalisateur, j'imagine.
Dommage donc, car le début laissait augurer beaucoup mieux. Il reste tout de même quelques séquences qui font mouche et le jeu de Fassbender en véritable état de grâce mais 12 Years loupe le coche.