MPAA Rating: R/ Genre: Historical Drama/ Stars: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, Sarah Paulson, Paul Dano, Benedict Cumberbatch, Alfre Woodard, Brad Pitt, Adepero Oduye, Garret Dillahunt, Scoot McNairy, Taran Killam, Christopher Berry, Chris Chalk, Rob Steinberg, Paul Giamatti, Michael Kenneth Williams, Bryan Batt, Bill Camp, Tom Proctor, Jay Huguley, Storm Reid, Quvenzhané Wallis, Dwight Henry/Runtime: 134 minutes

I think it is safe to say that if there is a topic that American cinema doesn’t cover nearly as much as perhaps it ought to then the topic of slavery in this country would be one that most assuredly would make it on the list let alone be a finalist in that distinct cinematic conversation. Sure slices of cinema like the 1997 film Amistad and even 2012’s Lincoln to an extent as well as the highly praised TV miniseries Roots may acknowledge this heinous atrocity as well as just how inhumane it genuinely was. At the same time however, these projects also don’t exactly take on the terrors present with this topic with an objectivity that is completely on-point. Heck even distinct film helmer Quentin Tarantino found himself criticized by some because of this topic. This is due to the fact that yes, his 2012 slice of cinema Django Unchained nobly took the time to look at how ruthless of an enterprise slavery was, but at the same time it also accomplished this through the prism of a lengthy pop-culture centric viewing experience. With that in mind though, Tarantino’s lively revenge saga may have been somewhat cathartic, but I can say that it is not even close to the genuine and heartbreaking horror on display in the slice of cinema I am reviewing for you today, 2013’s 12 Years a Slave. Indeed here is a slice of cinema that without a doubt is heart wrenching and extremely difficult to sit through, but is still one that by the end of it manages to be quite the emotional, powerful, and brave slice of cinema for its desire to tackle this story featuring one of the lowest points that we as Americans have gotten to. Indeed having seen this slice of cinema a handful of times, I am definitely curious as to if an American film helmer would have had the courage to tell this story with the incredibly thorough level of brutal honesty that is on display here for reasons I don’t think I have to go into here. Be that as it may be though dear reader, the fact remains that sure there are a few issues sprinkled about here and there in this film’s 134-minute runtime. However, with the aid of a top-flight cast in front of the camera and truly powerful work being done behind the camera, 12 Years a Slave is more than just a potent, appreciatingly albeit necessarily brutally honest, and more than just a tad bit emotional slice of cinema. Rather, it is a powerful reminder of how cinema can illuminate even the darkest chapters in our history and show them to us with a clarity that I feel no other art form truly can match.

The plot is as follows: An adaptation of the memoir of the same name, 12 Years a Slave gets underway by not only taking us back in time to the late 1840s/early 1850s in the American South, but also by presenting us with a look at our main hero, one Solomon Northup, as he is out in the field working with his fellow laborers as they are cutting down sugar cane. From there however, the film proceeds to take us by flashback to Saratoga, New York in the year 1841 where we learn that Solomon Northup is actually a free African-American male who enjoys a tranquil and relaxed life with his wife and pair of kids whom he loves with all of his heart. Yet, amongst his other attributes, it is worth noting that Solomon is not only educated, but also an immensely skilled player of the violin. I bring this up to you dear reader because it is due to his musical talents that we see Solomon is approached by a pair of men named Brown and Hamilton respectively who claim to be employees for a circus of sorts and who would love for Solomon to lend them his musical talents for a period of time in Washington DC that they are willing to pay him graciously for. Tragically, we soon see this chance to make some extra cash turn into a horrifying nightmare when the morning after his last set of performances our hero wakes up in chains and without his free papers on his person to help settle the matter is quickly designated a Georgia runaway given the name of Platt. From there, our hero finds himself being for all intents and purposes kidnapped and sold into slavery first to a benevolent and seemingly decent man by the name of William Ford, but then through circumstances that I shan’t spoil here eventually given over to a more ruthless and despicable sort of individual named Edwin Epps. A man who claims to be a religious sort, but who has no qualms about drinking as much as he can or for lusting after the best cotton picker he has in the form of a young slave girl named Patsey much to the disgust and consternation of his equally as ruthless wife. Thus, as the years go by and Epps’ despicability rises ever steadily, we see that Solomon must do whatever he can to not only stay alive, but also get a message out to any friends/family he may still have remaining in New York. Not only to let them know he is still among the living, but so that maybe just maybe they can come to his rescue and help him after all the pain and agony, both physical and emotional, that he has endured get back home….

Now right off the bat, it should be noted that the work being done behind the camera is no less than absolutely stunning. This starts with the work being done by film helmer Steve McQueen (the man at the helm of 2018’s phenomenal crime thriller Widows) whose work at the helm of this one is downright arresting and incredibly potent. A claim that I can make due to the number of either truly gripping, downright sickening, or both images that we find ourselves playing out before us and which the camera either takes us away from seeing, but not from hearing or focuses on so intently that you find yourself unable to look at anything else in that particular frame except the horrific acts that are unfolding before you. At any rate, I have no doubt that every single one of these images will be in your mind, like it was in mine, for quite a while. Along with that though, there is no denying that McQueen is also able to do a phenomenal job of showcasing for all of us just how genuinely gorgeous the landscapes of the American South genuinely can be if captured with the right eye and then heartbreakingly complements it by showcasing the genuine despicability that exists in quite a few of the characters in this narrative. Suffice it to say that every single element that McQueen’s camera captures in this from the locales to the atmosphere all feel genuine and powerfully honest whilst also not once feeling like it was constructed simply for the sake of cinema. We also see that the powerful helmsmanship from McQueen is reinforced admirably by both a potent yet wonderfully low musical accompaniment from Hans Zimmer and a, more often than not, incredibly penned script from John Ridley. Indeed, Ridley and his script do a wonderful job of reinforcing the director’s take on this story by providing audiences with both potent moments of unyielding integrity as well as a group of characters that you will either care about or want absolutely nothing to do with whatsoever. Yet, for all the positives that the script brings to the table, there is a flaw that is attached to it which I feel does impact the film overall just a teeny tiny bit. That being that although the script does bring something that is genuinely riveting and great to the table, there are moments where perhaps it does elongate on some components a bit too much. This can be problematic because if you do that too much then you run the risk of the sharpness of what you are trying to convey being horrifically dulled down. Thankfully, that does not happen in this slice of cinema, but there is a period of time in this slice of cinema’s midsection where you might start to worry. Just a forewarning.

Of course, all the powerful work done behind the camera doesn’t mean nearly as much if the work being done in front of the camera is not equal to it. Fortunately, that is not one problem that this slice of cinema is saddled with as every single performer in this cast manages to bring nothing less than their absolute best to this project. This starts with Chiwetel Ejiofor who, in the lead role of Solomon Northup, is not only brilliantly cast, but also manages to give one hell of a performance. Indeed this role is one that in virtually every way is equal parts emotionally draining and physically exhausting due to the fact that we are seeing a guy go from a content and loved by his family free man to an unwilling member of the slavery system in the South who, besides being separated from those he loves and holds dear, has to put up with being beaten down verbally and mentally to say nothing of physically in a variety of different ways yet are all equally as hard to watch. Suffice it to say that it is a role that can definitely take a lot out of the performer who takes it on, but the skill and emotional honesty with which Ejiofor engages it is truly nothing less than absolutely astounding in every sense of the word. We also see that this slice of cinema reinforces it’s lead actor’s terrific performance with a collection of support performances that are equally as impressive in their own right. This starts with Michael Fassbender who is the stuff that genuine nightmares are made of in his role of Edwin Epps. Indeed, here is a temperamental, lecherous, and just despicable man who, through slavery, has unfortunately found an outlet that he can inflict his cruelty and maliciousness upon and, even worse, take great delight in doing so. Suffice it to say that Fassbender does such a great job at bringing this genuine monster to life that don’t be surprised if you find yourself literally chilled to the bone whenever he shows up in this. Equally as good as Fassbender though is Benedict Cumberbatch who, in the role of William Ford, is a complete 180. Indeed the character of Ford is one who may be nicer and infinitely more moral, but who is still an active participant in the slave trade thus making him someone you, like Solomon, can respect yet also slightly abhor at the same time. With that being said though, the most iconic support turn in this has to come from Lupita Nyong’o in the role of Patsey. Indeed, here is a character that, even more than Solomon to an extent, represents genuine hopelessness as Patsey may be one who does what is asked of her incredibly well, but who also finds herself stuck between fending off Epps’ lecherous advances and Epps’ wife’s venomous attacks which (in one hard to watch scene) even turn physical with no hope for anything more to come in life for her than that. Suffice it to say that it is a truly gripping performance, but even more so when you find out that this was Nyong’o’s debut performance in a film.  Thus when you also factor in phenomenal co-starring efforts from such screen icons as Alfre Woodard, Brad Pitt, Sarah Paulson, Scoot McNairy, Taran Killam, Paul Giamatti, and Paul Dano to name but a few what you are left with is a fantastic collection of talent giving us a group of genuinely powerful yet also honest performances in a film that requires nothing less than that.

All in all I think it is safe to say that if there were three definitive blemishes on the tapestry that makes up American history, I think the tragic trinity that a lot of people out there would pick would be the treatment of the Japanese in World War II, the treatment in general of Native Americans, and slavery respectfully. As a result, I can understand why for a lot of you out there the slice of cinema that is 12 Years a Slave might be a bit too much to see unfold before your eyes and truth be told I respect that. However, for the rest of you out there my dear readers, I definitely find myself imploring you to please watch this slice of cinema. Yes, it can get brutal, yes it can get quite bleak, and yes there are things which occur in this movie which will make your jaw hit the floor in heartbreaking shock and/or your eyes well up with tears, but truthfully that is exactly what this slice of cinema is aiming to do. Indeed this is a slice of cinema that, phenomenal cast in front of the camera and potent work behind the camera aside, aims to not only give us a truly riveting story, but also showcase for movie goers how the nightmarish practice of slavery genuinely was in the American South back in the 1800s. Suffice it to say dear reader that a lot of movies are meant to entertain and thrill us, a lot of movies are meant to engage our emotions, but some are meant to educate us on the sins of our collective past. Not just so we as a species know about these things, but so we don’t ever find ourselves engaging in those activities/behaviors again. Make of that therefore what thou will dear reader. On a scale of 1-5 I give 12 Years a Slave “2013” a solid 4.5 out of 5.