12 Years A Slave

To many unacquainted with the work of Steve McQueen, 12 Years A Slave may seem to be another lengthy drama film with little to say or do than parade about in front of film academies in hopes of snatching up awards. Such a critique could be made of Tom Hooper's 2010 Oscar wining The King's Speech, which is by all means a well made and pleasing film, but distinctly lacking in edge or innovation. If however you have seen either of McQueen's previous feature length films, Hunger and Shame,  you will have much greater expectations.
12 Years A Slave does not shy away from the horrors of Solomon Northup's experience, but instead subjects the audience to levels of visceral brutality. Early in the film, shortly after Solomon's capture, there is torture scene in which Solomon (Chiwetel Ejiofor) is being beaten by one of his kidnappers with unrelenting malice. With each sharp loud crack of a panel on Solomon's back, followed by anguished cries of torment delivered by Chiwetel Ejiofor with haunting authenticity, it is hard to blink back tears of both empathy and fear. It is not until the next scene in which we see Solomon's bloodied and ripped shirt do we have any indication of his physical injury, leaving the audience to imagine the true extent. Such scenes make 12 Years A Slave more frightening than most 'horror' films and, unlike other representations of slavery in the 1800s, is unflinching in the depiction of the reality of some people's lives. Although, through McQueen's honed directional skills there is an unmistakable beauty to the film, from the lingering shots of the southern American landscape to the elegant lighting of scenes, which offer visual solace in contrast to the harrowing treatment of the enslaved people.
Ejiofor's performance is powerful and moving, he utilises the freedom offered by McQueen's trusting direction to play out the subtle emotions of Solomon to sensational effect. It is Solomon's underlying strength of spirit that make this a genuinely compelling film. Even as Solomon is tested and his character is subsequently effected by his many trials there remains his latent determination not to let it get the better of himself. Juxtaposed with sadistic antagonist Edwin Epps a tyrannical slave owner, played strikingly by Michael Fassbender, whose erratic and violent behaviour incites great fear in his workers. The scenes between Ejiofor and Fassbender prove to be the most gripping making it easy to forget you are watching two actors rather than two real people. The character of the victimised and childlike Patsey will serve as a fantastic break through role for the unknown Lupita Nyong'o. Nyong'o plays Patsey well with an innocence acting as a shield to the growing threat of Edwin Epps who views her as his prized possession. Like Solomon audiences will feel a sympathetic desire to protect Patsey that is ultimately futile.
12 Years A Slave  is able to illicit an emotional response without exploiting its content for dramatic purposes. This is aided by the complementary score of the masterful Hans Zimmer. One scene in particular which sees Paul Dano's creepy violent character rise into a murderous temper accompanied by an ascending throng of electrical guitars. The music consistently plays to the tone of scenes without overpowering them.
A film that collaborates the adept skill of all involved, executing this true tale with the great virtuosity it deserves. A triumph of a film that should not be underestimated.