Middle of the XIX century. Northeast states refused for a long time a rabovladeniye and esteem the Afro-Americans on a level with white citizens. Solomon Nortal – the mediocre slogger from the suburb of New York, the loving husband and the father, the master of game on a violin – goes to earn additionally to Washington where falls a victim of kidnappers. Villains forward it on the South where Solomon becomes a slave on plantations. Passing from mister to mister, testing burdens and deprivations, threats and a beating, Solomon does not lose presence of mind even in the most hard times, believing that once justice will triumph and to it freedom will return.
In a year after freedom finding Solomon Nortap wrote the book «12 years of slavery», become the best-seller of the time, but then almost disappeared of memory of Americans
When a year ago practically during the same time in hire there was Tarantino’s «Django released», among critics and the audience discussion supposedly that swept it is Hollywood suddenly addressed to such, frankly speaking, to an irrelevant subject – stories of black slavery. It seems and the inequality ended long ago, and the country the president-Afro-American directs, and the Black population does not feel for a long time «the second grade». Then opinions were shared, and then this question at all left on the background which has been squeezed out by triumph of the film, the director and actors. However «Pandora’s box» was already open, and after places thoughtless, in places Steve Makkuin – artillery heavier in all senses of a word appeared grotesque Tarantino from it.
As the designer of suits for the film the 80-year-old veteran of shop Patricia Norris, the fivefold nominee on "Oscar", working with Brian De Palma, David Lynch, Peter Hayamsom and many other acted in due time
Makkuin Road by «12 years of slavery» was twisting but as far as it strengthened it, is appreciable practically from the first film frames. The director it and without that laconic, aspiring in many respects to minimalism, but in the new film the viewer should be ready to that conversation is necessary heavier, than in "Shame" or "Hunger". Two-minute static plans of the face of the hero, the waves escaping afar which are carrying away freedom, the sky and the boundless fields reminding of carefree life, – it will be in prosperity, but such receptions do not overload a picture. On the contrary, each such scene on a shred approaches to understanding of feelings of the hero. Feelings of the person who has lost those the hidden and intangible right in usual life to feel which it is possible, only having lost it.
Certainly, with such material on leading man Chevitel Edzhiofora inconceivable loading drops out. But how the actor copes with a role, does of it one of the main applicants on "Oscar" (in Edzhiofor’s nomination there are no doubts). In two screen hours Solomon manages to endure so a lot of things, to test all range of emotions, and through these emotions to show not only horror of a rabovladeniye, but also how this horror looks from within. Not from pages of textbooks or the smooth licked stories of the Wild West where the Black at the best was present at quality of the eremite or the dealer. No, Solomon Edzhiofora bears on itself all weight of a terrible burden, keeping inside a decaying piece of coal of hope.
The bright positive role is impossible without уберзлодея, and here on the foreground there is Michael Fassbender, pushing in Leonardo di Caprio shadow with his white pie. In the third time Makkuin and Fassbender undertake collaboration and in the third time strike imagination. Planter Epps which role was executed by a talisman of the director, – the character looking from height of times comical, invented, as if the komiksovy villain. But in it that perversity of the white slaveholder seeing in "nigger" only invested money and received labor reveals and becomes clear. If it is deep in Steve Makkuin’s thoughts and revanchist notes, Epps – that prick to white which responds most painfully were hidden.
About heroes and villains of the film as the first here often intertwine with the second, it is possible to speak long, however it is better to see them the eyes. Not least and consequently that the film very beautifully if such word is pertinent for the description of scenes with bloody beatings, rapes and executions is shot. Few months ago I admired improbable long plans of "Gravitation", but Cuaron’s space tragedy was after all technical achievement more. In «12 years of slavery» the two-three of scenes without gluing together lasts 3-4 minutes, but it at all the same what to turn alone in a space suit. The scene of punishment of servant Patsy, for example, includes ten heroes and the moving chamber. What tension is tested during such moments by actors (and the mood of character Fassbender in this scene changes several times), it is possible to present only. It is very high level of skill and the director, and all present on a platform. The level turning a show into art.