12 Years A Slave

12 Years A Slave starts its harrowing journey by reminding us that the following tale is based on truth. It then proceeds to recount a story of betrayal, violence and utmost survival. It tells of Solomon Northup, a black man living in the northern territories of 1800s USA, a free man, until he is unceremoniously duped, thrown into shackles and sent to work across a series of plantations and cotton fields, turning this antebellum tale on its head.

In terms of narrative, what we have is relatively straightforward, though it begins en media res, an overused but efficient cinematic technique. Solomon's experience gradually wears him down, though, early on, he proclaims he will not wallow in sorrow or fall into despair. He's a remarkably strong character, accentuated by a remarkably strong performance by lead, Chiwetel Ejiofor - you hear that? Oscar bells a-ringing. It's a subtle performance and much of the story relies on the way director Steve McQueen has the camera linger on Northup for an extra 30 seconds or so, letting him do his work as well as lingering, rather uncomfortably (that's the point) on the atrocities committed by the slave-owners and their overseers. A scene late on stands out, but rather than let the audience use their imagination, McQueen allows us to experience it in its entirety, barely any cuts thrown in, one continuous moment of pain, grief and despair.

McQueen has made note of the lack of films depicting slavery in Hollywood (I love it, but I don't think Django Unchained rings the same bitter truths) and he's certainly gone a way to creating the essential entry that others will aspire to and be judged by. This movie has something of a happy ending, maybe bittersweet is more apt, considering what comes before, but it ends assuring the audience that this was an anomaly, a 1 in 1000 lightning strike, a story worth telling. There is no almighty push for the others on the plantation that Northup leaves behind - for many of them, worse off than him with his education and talents, things will only get worse - and we're meant to remember them the most. Aside from Ejiofor, Lupito Nyong'o plays Patsy, a unique slave, shown a warped affection by vicious, drunk slave owner Edwin Epps (McQueen regular Michael Fassbender). Her performance is stunning and captures both sides of the spectrum, a willingness to please, to survive, to do what is required of her as well as a dark turn of hopelessness, beginning Solomon to end her life. The final shot of her desperately trying to cling to him as he leaves for a better life, knowing her own will probably be over soon, packs a punch. 

Aside from all this, there are a fair few solid performances from household names in here - Benedict Cumberbatch continues his launch as benevolent slave owner Ford, an odd character who seems to be living the way a southerner is expected, but with a clear conscience. Fassbender is terrifying and hard as Epps, alternating between a soft-spoken, veiled menace to an explosion of rage, seemingly with ease. Brad Pitt has seen a lot of marketing for this film, the film he's produced, and he has a couple of good, important scenes. He's something of an aberration as well, a white man who calls Epps out on his actions and promises something better for Solomon. It's an important moment as we've got to this point, with Solomon, not knowing who to trust, but like him, we've been through so much that the sheer desperation is all we've got, all he's got. The score chimes in every now and then, representing the movie in its entirety; subtle, but not afraid to pack a punch, always inspirational and morbidly uplifting.

It's a favourite come Oscar season and it brings with it some uncomfortable truths (again, the point) but it's impossible to deny the significance of the film, as well as the technical brilliance and star turns. It's a long film, just over two hours, but it's hard to look away, running down the time with scene after scene, never wasted, never lingering too long in one place, always ready to shock and awe. It's an inspirational story, one that needed to be told, one that, all too sadly, could be considered as relevant today as it was back then. It's a total triumph of cinema and evoking emotion - I doubt many will chatter excitedly as they leave the cinema and many will remain silent as they shuffle out the doors, long after the final credits roll. But, again, that's probably the point.