What can one say about 12 Years A Slave, that the title and reviews have not already said? This is a disturbing representation of twelve years in the life of Solomon Northup, a free African American ripped from his comfortable life by slavers, and sold into bondage in the deep south.
Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.
The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.
Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.
Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.
Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.
I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.
Tuesday, 25 February 2014
Monday, 17 February 2014
Dallas Buyers' Club
It's 1985, and Ron Woodroof is a wiry, rodeo-lovin' electrician living the good life, up to his eyeballs in girls, gambling, drugs and alcohol - until the accidental discovery he's HIV positive. Struggling against medical ignorance, prejudice and the legal system, Ron forms the Dallas Buyers Club while searching for medication to help his condition.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
Friday, 14 February 2014
Parade's End
Set in early twentieth century England, during possibly the greatest period of change in modern times, Parade's End follows young gentleman Christopher Tietjens, struggling to uphold his exacting moral standards against a developing love triangle and a rapidly industrialising world.
The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's End. The beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.
The central love story hangs on three very different types, each brought to life in a nuanced performance. Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect. Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic. Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.
The small scale of their story is set against the sweeping change which characterised the period. A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.
As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.
Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office? For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.
The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's End. The beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.
The central love story hangs on three very different types, each brought to life in a nuanced performance. Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect. Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic. Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.
The small scale of their story is set against the sweeping change which characterised the period. A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.
As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.
Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office? For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.
Subscribe to:
Posts (Atom)