Based on an incredible true story of one man's fight for survival and freedom. In the pre-Civil War United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty personified by a malevolent slave owner, as well as unexpected kindnesses, Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon's chance meeting with a Canadian abolitionist will forever alter his life.Written by
On location, shooting in Louisiana took only thirty-five days with one camera, which prompted amazed laughter from an audience of Directors Guild peers, including interviewer Kathryn Bigelow, for the startlingly efficient direction of Steve McQueen. See more »
When Solomon Northup was playing the violin in the early scenes, the violin strings were made from synthetic material. The material at the time would have been catgut. See more »
Alright now, y'all fresh niggers. Y'all gonna be in the cuttin' gang.
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Greetings again from the darkness. Should this be labeled a historical drama? Is it one man's extraordinary tale of strength and survival? Does this fall into the "art film" category that so divides the movie-going public? The answer to all is YES, and I would add that it's a masterfully crafted film with exquisite story telling, stunning photography and top notch acting throughout.
The movie is based on the real life and writings of Solomon Northrup, a free man who was kidnapped and sold into slavery from 1841-53. Northrup's story provides us a look inside the despicable institution of slavery. Needless to say, it's a painful and sad process made even more emotional by the work of director Steve McQueen (Hunger, Shame). McQueen takes a very direct approach. Not much is left to the imagination. Torture, abuse, cruelty and misery take up the full screen. The only subtlety comes from the terrific work of Chiwetel Ejiofor as Northrup. His facial expressions and eyes are more powerful and telling than any lines of dialogue could be.
You will not find many details from the movie here. This is one to experience for yourself. It lacks the typical Hollywood agenda when it comes to American history. Instead this era is presented through the eyes of a single wronged man and his quest to return to his wife and kids, no matter the inhumane obstacles. We see Paul Giamatti as an emotionless, all-business slave trader. Benedict Cumberbatch is a plantation owner who has a heart, but lacks business savvy. And finally we enter the world of cotton farmer Michael Fassbender, who twists Bible scripture into threats directed at the slaves - his "property".
Fassbender dives deep into evil to find his character, and along with Ejiofor, Sarah Paulsen (who plays Fassbender's icy wife), and Lupita Nyong'o (who plays slave Patsey, the center of the two most incredible scenes in the film), provide more Oscar worthy performances than any one movie can expect. You will also note Quvenzhane Wallis (as Northrup's daughter) and Dwight Henry (as a slave) in their first appearances since Beasts of the Southern Wild. Other strong support comes from Scoot McNairy, Taran Killam (SNL), Michael K Williams, Alfre Woodward, a nasty Paul Dano, Garret Dillahunt and Adepero Oduye.
Steven Spielberg gave us a taste of the holocaust with Schindler's List, but not since the TV mini-series "Roots" has any project come so close to examining the realities of slavery. Northrup's story seems to be from a different universe than the charming slaves of Gone with the Wind. I would argue that what makes this watchable (though very difficult) is the focus on Northrup's story. While tragic, his ending actually deflects from the ongoing plight of those not so fortunate. It's a story of a man who states he doesn't wish to merely survive, he wants to live a life worth living.
McQueen's direction will certainly be front and center come awards season, as will many of the actors, John Ridley (the screenwriter), Sean Bobbitt (cinematographer) and Hans Zimmer (score). The only question is whether the subject matter is too tough for Oscar voters, who traditionally lean towards projects a bit more mainstream.
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