’12 Years a Slave’ Review: A Powerful Story of Survival

With “Hunger” and “Shame,” director Steve McQueen proved himself an indelible artistic force to be reckoned with in an era where “shock and awe” seem awfully calculated. Transcending the confines of the historical drama, McQueen’s latest effort, “12 Years a Slave” arrives with powerful statements on race, oppression and cultural duality that continue to haunt us today. It is a provocative and emotionally stirring peak for the British director, solidifying his place as an era-defining voice.

Yes, the words “Based on a true story” will trigger an understandable roll of the eyes, particularly in this era of endless biopics. However, the intrinsic beauty of “12 Years of Slave” is that McQueen retains his penchant for illuminating the darker recesses of our selves to establish a contemporary bridge to the past. A narrative told without manipulative bombast, John Ridley’s adaptation of Solomon Northrup’s autobiography is a boldly clear-eyed survivor’s tale.

Chiwetel Ejiofor stars as Northrup, a free black man from upstate New York who travels to Washington, D.C. under false pretenses, only to be kidnapped and sold into slavery. What follows is a 12-year odyssey where malevolence and brutality could only strip away his dignity. Yet, he also experiences pockets of kindness and decency, which ultimately deliver Northrup back to his home and family.

Set prior to the American Civil War, McQueen eschews some of the clichés of the biopic by not marking time with obvious titles or even a voice over. Northrup’s journey is pure forward motion, with each event taking you deeper and deeper into a seemingly fruitless odyssey home. Even with the knowledge of Northrup’s eventual freedom telegraphed in the title, the movie remains a truly immersive experience.

Most of “12 Years a Slave” rests on the shoulders of Ejiofor’s shoulders, or rather, his eyes in a powerfully layered performance. At turns defiant and outraged, he never registers as a victim. And while passivity may play a role in his continued survival, Ejiofor’s honest representation of resolve is what carries the viewer through the most harrowing aspects of the film.

McQueen’s reteaming with “Shame” and “Hunger” star Michael Fassbender offers no less than riveting results anew. Literally the polar opposite of Ejiofor, Fassbender is no noble creature given the savage ferocity with which he inhabits the role. Yet his turn as slave owner Edwin Epps does not register as an archetype designed to merely represent the vilification of the era for the audience. What Fassbender does is present Epps a human being who truly believes his role as oppressor is justified, as do the many who enable slavery It is a risky depiction, but one that is no less as poignant or revealing as Ejiofor and several of the film’s ensemble players.

Among the standouts in a peerless cast is Sarah Paulson, who is riveting against type as Mistress Epps. And, prepare for a heartbreaking turn from newcomer Lupita Nyong’o as Patsey, who delivers one of the most searing moments on film this year with Ejiofor as she begs him to help her end her life as a slave.

The emotions mined by “12 Years a Slave” will vary within an audience because McQueen’s unflinching depiction of the past stirs uncomfortable parallels to the present. One of the most telling is a shot of a manacled Ejiofor through his cell as the camera lifts to reveal the construction of the Capitol Building in Washington, D.C. It is a sobering reminder of just how our national identity has been shaped by bloody and shameful events that seem so removed from our present to some.

It is no coincidence that the subject of race and cultural tolerance has resulted in some of the year’s most important filmed experiences. The youth-driven vision of Ryan Coogler’s “Fruitvale Station” is a worthy companion piece to “12 Years a Slave” with both films serving as reminders as to why the dialogue must continue. More, McQueen’s vision of American history resonates in a manner that Lee Daniels failed to accomplish with “The Butler.” It is not enough to depict, whether through drama or humor, the more shocking aspects of the past to elicit a reaction. You must find and respect the heart and humanity in both the darkness and light represented by those who lived through such a complex time. That is how you preserve its relevance for subsequent generations to view and understand.

“12 Years a Slave” opens nationwide on October 18.