By Noah Gittell
The film is based on the true story of Solomon Northrup, a free black man from New York who was taken from his family and sold into slavery. Sold as property from one slave owner to the next, he eventually ends up at the plantation of Edwin Epps (Michael Fassbender) a sadistic, childish brute whose slaves suffer the worst forms of sexual, physical, and psychological abuse. Through the eyes of Northrup, the film offers us a more visceral, honest portrayal of slavery than has ever been depicted before in American film.
But each of those films offers concessions to their white audiences. “42,” for example, gives way too much credit to Dodgers’ owner Branch Rickey and ignores the contribution of civil rights activists who pressured baseball owners to break the color barrier.
You’ll find no such safety in “Slave,” which shows America’s original sin in all its brutality, from the physical beatings to the moral justifications to the perverted emotional relationships. As a filmmaker who has dedicated his career to documenting human pain — see his first two films, “Hunger” and “Shame” — director Steve McQueen is perfect for this project. His trademark is the use of long painful takes to impress on the audience the pain of his characters. In an act of tremendous respect and deference to the viewer, he spares us nothing and allows us to choose whether to watch or look away.
In “12 Years a Slave,” McQueen lets his camera linger on them for painfully long stretches. There are several long, unbroken scenes of slaves being whipped, but the moment that has lingered in my memory is the near hanging of a slave. Instead of outright killing him, his captors hang him just high enough for his feet to barely grasp the ground. With the mud squishing beneath his toes, he must perpetually readjust his feet not to strangle himself, a telling metaphor for the psychological torture inflicted on slaves who must constantly readjust to a world that crushes every element of their personhood and individuality.
Each of these artists deserves to be singled out. Newcomer Lupita Nyong’o, who was raised in Kenya, is particularly moving as Patsey, the preferred female slave of the Epps who suffers at both his hands and those of his jealous wife (Sarah Paulson), but it is their combined effort, depicting every horrible variant of the institution of slavery, that makes “Slave” a uniquely important film.
The highest purpose of film is to transport viewers to places they have never been, even if it’s not always a place they would want to go. For those Americans who never had a choice of going there or not, everyone should watch “12 Years a Slave.”
My Rating: See it in the Theater
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