‘12 Years a Slave’: Our shame gets visceral telling in the history of betrayed free man
October 25, 2013
The stain of slavery on American history has seen many renderings on celluloid, from the misguided pro-South, silent 1915 masterpiece by D.W. Griffith, “Birth of a Nation” that embosses Klansmen in a heroic light, to Quentin Tarantino’s recent revisionist fantasy, “Django Unchained,” in which the Klan are little more than Keystone cops in hoodies and an emboldened slave, freed of shackles and armed, rains down wrath on skin-trading vermin. Both are cinematic achievements in their own right, but neither gets fully at the foul plight of rooting day-to-day under the duress of an overseer’s whip. Stanley Kubrick’s “Spartacus” came close, but that sweeping epic took place centuries ago, long before the pilgrims hit the shores of Massachusetts and our European forefathers began an unwritten policy of treating people of nonwhite pigmentation like pests and livestock.
The good (or grim, as it may be) news is that director Steve McQueen, who is black, British and an auteur of recent reckoning, goes at the matter in “12 Years a Slave” in a fashion that gets under the viewer’s skin in unexpected ways. It’s uncomfortable and telling. What McQueen achieves is a visceral experience that, while not a history lesson in the factual sense, becomes the de facto moral rendering of an era that should be recalled only with remorse and shame. Continue reading
Development of “Gravity” began shortly after “Children of Men” (in 2006) and took nearly six years to complete because of the need to invent technology to make the film possible and the degree of complexity and time required for some of the special effects, which are far beyond typical green-screen chicanery. For what’s onscreen and the $80 million budget spent, it looks like every minute and every penny was poured into every scene. The film is nothing short of a miracle in filmmaking and should be held as such. 
For What it's Worth 