My Thoughts on the Beauty and Brutality of 12 Years a Slave

Chiwetel Ejiofor, Steve McQueen, 12 Years a Slave

poster via imdb

The first time I saw Steve McQueen’s 12 Years a Slave was during a press screening that was also attended by students from local colleges, as well as hoi polloi like me who got passes through a screening service. At the end of the film was a Q & A with the director of the Boston Museum of African American History, Beverly Morgan-Welch, and the presenter of “City Line”, a local television show that focuses on urban issues, Karen Holmes Ward. Even as my popcorn was forgotten, as my heart was in my mouth, my hands trying to stifle the sobs, I was still very aware of the audience around me, wondering what they were thinking and feeling. That viewing was all about the historical context, despite the fact that I was an emotional wreck afterward.

The movie is, quite simply, a masterpiece. Unlike James Franco, however, who seems to want to set himself up as a learned and worldly carbuncle on the butt of 21st century popular culture, I was not, am not, “beguiled” by this movie. I certainly don’t understand how anyone could see it two nights in a row. I needed a large span of time between viewings in order to thoroughly and properly process what I’d seen.

The second time, I wasn’t watching the film in anticipation of seeing one of the most talked about movies of the year, one I had been waiting for since filming began. I went back again to find out if I’d have the same visceral reaction to the brutality or whether the fact that I knew when and how it would be meted out had in any way inured my senses to it.

No, it did not. In some ways, I was even more affected by it.

There are not words to adequately describe how utterly despicable the practice of human beings purchasing, possessing, owning other human beings as if they were ‘things’, truly is. We haven’t coined the words because our minds won’t let us consciously descend far enough into darkness to fully comprehend it. In much the same way that mere words cannot convey the true horror of the Holocaust, or the genocides still being perpetrated in various parts of the world as I type this, because man’s inhumanity to man is, ultimately, incomprehensible.

It is for this reason that watching 12 Years a Slave, only Steve McQueen’s third feature film,  is an  emotional experience akin to watching Steven Spielberg’s Schindler’s List, made all the more authentic and terrible because it is told not from the perspective of the benevolent white savior, but from that of the enslaved.

It is fact that McQueen has never made a film that was easy to sit through. You’ll probably never see his name on the poster of a film with the tag line “The Feel Good Movie of the Year!”, but unlike Shame, or even Hunger (which was also based on a true story, but one with a very different outcome), 12 Years a Slave manages to rise above the unrelenting misery it depicts to become a testimonial to the ability of a single unyielding man, not only to “survive”, but to “live”.

12 Years a Slave is the second film in two years about that American abomination that was slavery, a subject that has been largely ignored by cinema. Like Quentin Tarantino’s nearly as brilliant Django Unchained, it is agonizing and heart­breaking; a gut-twisting experience to watch. But unlike Django, the brutality is realistic, not exaggerated to, at times, comic levels. There is no intentional humor in 12 Years…. If there is any laughter at all, it is the scattered, nervous, incredulous tittering of those who don’t yet know how to believe, let alone process, what they’re seeing in front of them.

The story certainly sounds like something that sprang from a writer’s fevered imagination. Despite what we know about American History, how can it be true that a free man was kidnapped, forced into slavery and kept in captivity for twelve years without anyone believing his tale or doing all that they could to help?  This is not the time, nor place, for a political discussion of the state of race relations in this country, but your experience of this film is no doubt tinted by your experience of the world as you know it now. (Isn’t what happened to Solomon Northup really only a few steps removed from what happened to Oscar Grant III in 2008, as depicted in  Ryan Coogler’s Fruitvale Station?)

That these things described above did happen, is the singular experience at the heart of McQueen’s film. What makes the film particularly impressive is not that it provides historical parameters for a dimension of slavery that most of us were unaware of, but that it does so by the weaving together of the smallest of details that made up Northup’s life in captivity. Each scene feels frighteningly immediate, as though it weren’t filtered through time, but exists in the present moment. This film is not only one of the best of the year, certainly, in my humble opinion, the most important, but it is  probably one of the best movies I’ve ever seen. For all of the harshness, the brutality, and the violence, it is also beautifully made.

McQueen comes from the art world and has a painter’s eye for staging and the framing of images, without resorting to flashy visual tricks. Thinking about the opening scene, we are thrust into the lush cane fields of Louisiana. We can see the thick, humid air as a group of black men, slaves, labor in the stifling heat. We don’t know any of them but we get an immediate feel for time, place and circumstance. We next see Northup (Chiwetel Ejiofor) attempting to use crushed berries for ink. It’s out of context and yet gives context to things we’ve only read about in history books.  McQueen then moves back in time to Northup’s nearly idyllic life pre-ordeal. How can this be the same man?

What follows is two hours chronicling nearly unimaginable suffering. Along the way, Solomon Northup, now called by the slave name, Platt, encounters nearly every facet of the experience of slaves in the pre-Civil War South. We learned from our history classes that families were torn apart, sold separately with no regard for mothers and their children. McQueen shows us what that would have felt like. I learned that it was possible for a former slave to live as the wife of her former owner. Alfre Woodard is brilliant as one such woman, existing in her own delusional bubble, blissfully ignoring the plight of those still in bondage.

Edwin Epps (Michael Fassbender) represents the extreme in his sadistic cruelty, nearly matched by his equally cruel wife, played by a truly scary Sarah Paulson. But there are degrees of racism. Benedict Cumberbatch as Platt’s first owner, the benevolent William Ford, gives him a violin and allows him to keep the money he earns from playing it. Does his relative kindness alleviate complicity? Ford knows and Platt knows he knows, that Platt is not just any slave, yet he does nothing to help him, for fear of losing his financial investment.

The philosophical depiction of slavery aside, what really sets McQueen’s film apart is that he refuses to flinch when it comes to depicting the violence. We cannot be kept at arms length when he pulls us in so close, whether it’s the sight of flesh and blood literally flying off of a back during an excrutiating and protracted whipping scene or watching Platt struggle to stay on his toes for hours trying to relieve some of the tension of the noose around his neck as plantation life carries on all around him.

When Solomon finally does return to his family, every day of those twelve years is worn into his face. The pain haunts his eyes. All he can think to say to them is to apologize for his long absence.   (What is amazing to me is that he is somehow able to articulate not only to them but to the rest of the world, with his book, what happened during those years.)

I have not yet seen All is Lost or even The Wolf of Wall Street, but I am, of course aware that Robert Redford has given another singular performance and of course there is talk that Leonardo DiCaprio will inevitably be nominated for yet another role in a Martin Scorsese film. I have seen Captain Phillips and I have given my opinion on Tom Hanks’ performance. I have seen the magnificent Dallas Buyers Club and oh, how I wish it had been released in another year so that Matthew McConaughey could be recognized for his towering performance.  (My thoughts on McConaughey’s talents are known to readers of this blog, but that is for another discussion.)  I adore Idris Elba and his Nelson Mandela in Mandela: Long Walk to Freedom is mesmerizing, but the movie itself is not entirely worthy of his efforts (nor Madiba’s legacy). I have seen Fruitvale Station and as good as I think Michael B. Jordan is, as deserving I believe him to be of a nomination, no performance has or could possibly come close to the one given by Chiwetel Ejiofor in 12 Years a Slave.

When was the last time an actor reduced you to near-wracking sobs by doing nothing? There is a scene with no sound but the wind rustling lightly through the trees and the tall grass. Ejiofor stands still, his eyes barely moving, the camera close on his face, as the last shreds of any hopefulness seep away, replaced by the despair he’d fought for so long to keep at bay. My heart breaks again thinking about it weeks later.

Lupita Nyong’o, who played Patsey, has described 12 Years A Slave as an “emotionally taxing” acting experience. If I can say that I imagine it would be, I would also say that hers is an understatement.

Nyong’o, who made her feature debut with this film (!) has been earning across the board accolades and making the chat show rounds. (At this point she’s considered one of the few virtual locks for an Academy Award nomination.)  She told “The View”, that going to “that emotional place was so hard it was really important for me to continually remind myself that I was not Patsey after all”.

Patsey suffers abuse of every possible kind at the hands of Michael Fassbender’s plantation owner Edwin Epps.  Fassbender’s character embodies such bred-in-the-bone evil, so institutional, so palatine, as to let Epps be sanguine about his monstrosity. He treats Patsey as he does not only because she is his property, but because he loves her. And yet his other slaves might as well be furniture. Witness the casual way he leans on their heads, as if they were not living, breathing human beings.

Fassbender does something that very few actors can— he makes us believe at all times while he is on screen that anything could happen (the first time and yes, even the second time I saw the film). Every scene in which Epps appears is fraught with so much tension that we do not trust that Patsey or Northup will live through it; this despite the fact that we know that this is a true story, with a known conclusion. Fassbender has said that Epps took a physical toll on him. He even reportedly passed out after a particularly brutal scene. We may assume that an actor leaves it all on screen, but I don’t see how any thinking, feeling individual could not be affected by what was required of them, at least in this case.

That it has taken me this long to get this post finished is the reason I will never be able to do this for a living, although if the ability to crank these things out was all that stood between me and sleeping on the sidewalk, I suppose I could learn. This post was started, with thoughts rambling around my head after the first viewing, continued after the second, and has been ruminated upon ever since.   It has taken me so long that while it was widely assumed that this movie would be a major player come awards season, now that that special time of year is actually upon us, we’re beginning to get confirmation.

The entire film is packed with so much talent in even the smallest of roles, it’s obvious that they just wanted to be a part of this movie. They certainly didn’t do it for the money. I’d go so far as to say anyone could have played Bass, the role played by Brad Pitt (looking like he escaped from Amish Country), but Pitt’s name helped to get the movie made, both as a producer and on the marquee. All of that aside, the three actors mentioned here, are by far the soul of the movie and deserving of the attention they are getting.

If no one involved made the movie for the money, they didn’t do it for awards either. That said, awards speculation has been so rampant, since the film’s first festival screenings, that if I were Steve McQueen or any actor, producer or even an executive in any way associated with this film, I’d have been waiting for the other shoe to drop and the inevitable backlash to begin.  It was recently announced that 12 Years a Slave led all films with seven nominations for the 2014 Film Independent Spirit Awards, including best feature, director and actors Ejiofor (lead), Nyong’o (supporting) and Fassbender (supporting). As I said, when I first starting working on this post I would have assumed that there could be no doubt that these nominations would be only the beginning. After the odd choices made by the crazy quilt of critics association awards that were announced this past weekend, some of which seemed to be going out of their way to praise anything other than this film, I’m no longer sure of anything.

While we have yet to hear from The Producers, Directors and Writers Guilds, the Screen Actor’s Guild (noms for Actor, Supporting Actor & Actress and Best Ensemble Cast – their equivalent of Best Picture) and the Hollywood Foreign Press Association (the same 3 actor nominations as well as director, adapted screenplay, score and Best Picture – Drama – basically everything it was eligible for) have restored a bit of my faith that the Academy of Motion Picture Arts and Sciences will do the right thing..

A Question for Kevin Spacey, Along with Some Thoughts on Captain Phillips

Captain Phillips, Tom Hanks, movie, poster, Paul Greengrass, true story

via imdb

Dear Mr. Spacey,

Let me start by saying you and your producing partner at Trigger Street, Dana Brunetti, have made a fine film, a very fine film. Captain Phillips is inarguably one of the best of the year.  Tom Hanks gives such an emotional, gut-twisting, and realistic performance, that he will undoubtedly receive another well-earned Oscar nomination. (He won’t win of course. He can’t win. Not this year. If the Academy gives it to the middle-aged white guy this year of all years, there will be blood in the streets. But I digress.)

The movie follows the titular sea captain of the US container ship, Maersk Alabama, starting in the non-seafaring state of Vermont, where he bids farewell to his wife (played by the always terrific Catherine Keener in her one and only scene). There is something about their conversation in the car that is at once comfortable and mundane, and yet we feel the twinge of fear and dread that she probably always feels as he departs on one of these trips. We’d feel it even if we didn’t know what was about to happen, because she feels it. The next thing we know, we’re onboard the huge vessel as it prepares to leave the port of Oman, where it is immediately clear that Phillips himself is worried about the possibility of attack from pirates, especially in the face of his crew’s apparent lax attitude and the ship’s inadequate security measures. (People are screaming themselves hoarse to protect the rights of US citizens to own an assault rifle, but these guys, aboard an American ship aren’t allowed to have guns?)

As we come to find out, it’s not paranoia. There have been numerous recent attacks in the same waters Captain Phillips is about to navigate. And soon enough, his fears are realized as two small skiffs full of gangly young Somalis, hurling insults at each other, make a beeline for his boat. (Speaking of insults, I found it interesting that they call each other “Skinny”. I thought that was a term UN Peacekeepers used to identify, possibly to denigrate, the Somali natives, as they did in Black Hawk Down. Of course they’re skinny, a lot of them are starving. But it could stem from their natural body type, with a tendency to be tall, lean and rangy. I don’t know which came first or who picked it up from whom.)  We’re given a short scene on the beach as crews are chosen for this mission, where it’s made clear just how cutthroat the pirate business is (and it is frequently referred to as “just business” throughout the film) and that there isn’t really any honor among thieves. What is also immediately apparent is that there aren’t a lot of alternatives for these young men (and boys). This is also reiterated in a later scene, to great effect, by the pirate leader Muse (played by Barkhad Abdi in his first film).

Director Paul Greengrass, working from a script by Billy Ray (Shattered Glass) in turn based on Phillips’ own memoir, has shaped his film into a tale of two captains, Phillips and Muse. Phillips is shown as stern, humorless and a taskmaster. (The real Phillips is apparently considered something of a tyrant by his actual crew, but this is a movie.) Muse might not be much back on land, but once he boards the Alabama, the oppressed becomes the oppressor. (And Abdi is brilliant. There is nothing cliché or one-note about his performance in which he compels us to understand why he feels he has no choice, every step of the way, even when it appears he’s being given an “out” at several junctures.)

About half –way through the film goes from the expansiveness of the open sea and the massive ship, to the tiny and claustrophobic confines of an escape boat, ratcheting up the tension to an almost unbearable degree. The passage of time is marked by a sunset or cutaway to the encroaching US Navy vessel in pursuit, so we know how long those people have been crammed into that tiny space. The hand-held camera work is very effective here. It’s literally “in your face”. The fear and desperation of the occupants is palpable. (I kept thinking about how bad it must have smelled in that cramped space.)

Tom Hanks is as strong as the embattled captain facing extraordinary circumstances, playing the kind of decent, hard-working, long-suffering everyman,  as we have come to expect him to be. This is both an asset and a detriment. He is Tom Hanks the way that Tom Cruise is Tom Cruise. He can never quite disappear any longer into any role. We feel we know him as a person, as much as we know him as an actor, and all of the tools of his trade. As Captain Phillips, Hanks does seem like an able seaman, running a tight ship, maintaining discipline and trying to keep his crew safe, but it is the scenes where he and Abdi go head to head that really crackle.

But Hanks, as good as he is at giving us clues as to what Phillips is thinking, often with just flicks of his eyes, is spectacular in his final scene. It is for this scene alone that he will almost certainly garner that Oscar nomination. It is something we have never seen from Hanks and it will shake you.

There are a lot of stories of survival winging their way to your multiplex this fall and winter, all gearing up for the big awards season push. A lot of them are real life to reel life as well. (Such is the case of Hanks other would-be awards contender, Saving Mr. Banks, although it’s not a survival tale.) Captain Phillips probably isn’t an automatic best picture contender like some of the others (including Gravity and 12 Years a Slave), but it’s a thrilling two plus hours at the movies.

I do, however, have a small bone to pick with you, Mr. Spacey, and all of the other producers. After having seen the film at a 5:30pm showing on opening night, having taken the profound and often frightening journey with my fellow movie-goers in a darkened theater, twisting my napkins to shreds,  my pulse pounding in my ears as I watched the fate of the titular Captain and his captors play out in vivid Technicolor in front of me…all the while listening to the woman a few rows back trying to silence her small child, I have to ask,“Why wasn’t your film rated “R”?

Do you really believe that the intense and harrowing emotional and sometimes physical torture that Tom Hanks endured is appropriate for children? Is it appropriate for them to watch terrified people with guns to their heads in fear for their lives? “But it was rated PG-13,” you might well respond. “It’s up to the parents (or guardians) to make decisions about what is appropriate for their individual child. ”  Ah, but there’s the rub!

Any movie not rated “R” is fair game and open season. Yes, a designation of PG-13 should tell a parent (or responsible adult) that they need to use caution, that there might be imagery that a young child shouldn’t see. (Just as there are now ratings on television programs that should provide guidance.)  But there will always be those parents who think a movie ticket is cheaper than a babysitter and so bring the kid along. There are also older teens who will bring younger children with them as well. It’s not as if employees of a theater have anything to say about it. “They can do that with an “R” as well”, you counter. “It’s hard enough to get them to enforce an “R” rating.” That’s very true. But it might, actually SHOULD give more of them pause. An”R” rating is a much clearer line in the sand.

In the audience with which I saw your movie was at least one small child.  I have two issues with this, the first being that the subject matter is inappropriate. Now, on paper, one could describe your movie as having no inappropriate language and minimal violence and no onscreen bloodshed. (I’ll leave it at that, lest I spoil anything.) But even though that argument would be merely splitting hairs,  that in and of itself, as concerns that kid is not my problem. If the kid gets nightmares and keeps that parent up all night, too bad and it’s their own fault. The second issue, however, is that there is little or nothing in this movie to hold the attention of a six or seven year old. What do six or seven year olds do when they are bored? They make sure everyone knows it.  While that might not directly be your problem, it was mine. And I bought a full priced ticket. I was on the verge, on at least two occasions, of getting up and asking for my money back. As it is, I’ll want to see it again so that I can concentrate fully.

Was that your dastardly plan all along? That I buy not one ticket, but two?  Too bad. I’ll probably wait for cable.

Captain Phillips with Tom Hanks, Catherine Keener, Barkhad Abdi, Barkhad Abdirahman, Faysal Ahmed, Mahat M. Ali, Michael Chernus, Corey Johnson, Max Martini, Chris Mulkey, Yul Vazquez, David Warshofsky, directed by Paul Greengrass from a screenplay by Billy Ray, based on the book “A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea” by Richard Phillips with Stephan Talty, is in US theaters now.

NOTE: I thought I had posted this over a week ago (It was saved in drafts – D’oh!). In case anyone has forgotten (or never heard about) the actual incident depicted in the movie Captain Phillips, which took place in 2009,   as I post this today, I’ve just gotten an email containing a breaking news report of an incident involving the kidnapping of Americans by pirates off the coast of Nigeria. Apparently the threat is still very real.