Director Steve McQueen examines the brutality of slavery in a frankness that is rarely seen, especially in somewhat mainstream films, not softening the subject matter by using a “point-of-entry” white character or neglecting the more frightening sexual truths of slavery. McQueen, a black British filmmaker, used his status as an outsider to American culture to examine it more explicitly and refuse to lighten the tone of the film and show slavery in a less real and brutal light. McQueen’s film uses several recognizable actors and utilizes their star power for a unique effect of warping our expectations for the film. One of the uses is highly effective, unsettling and shocking the audience at the beginning of the film, while the other use of celebrity at the film’s end seems much too safe and predictable to be effective in the discussion of slavery.
Early in the film, soon after Solomon Northup is drugged, abducted, and sold into slavery, he talks to two other slaves while being transported to be sold. One of the slaves is played by Michael K. Williams, a highly recognizable actor who won several awards for his portrayal of Omar Little on The Wire. William’s character talks about starting a revolt and escaping from the ship, and seems to be willing to assist Solomon on gaining his freedom, going against the other enslaved man’s pleas to be quiet and focus on surviving. However, William’s character is stabbed to death after a few brief minutes of screentime, a shockingly brief role for such a well-known actor. The actor’s brief role and quick end reflect many of slavery’s horrors to a modern audience and mirror’s Solomon’s introduction to the slave trade. The possibility of death is real and can happen suddenly by the hand of a displeased slave owner. Solomon begins to see that he cannot simply convince a slave owner that he is a free man, but must attempt to keep his head down and avoid arousing suspicion, but Solomon has no desire to forfeit his dignity, like the other man on the ship who greets his master with praise and affection. The death of a recognizable actor relays the very real possibility of death Solomon faces to the audience watching the film, and forces them out of their comfort zone and shatters their expectations. From that point on, Solomon’s situation takes on a new reality that is often not seen in “mainstream” cinema.
Towards the end of the film, Solomon encounters Samuel Bass, played by Hollywood star Brad Pitt, a Canadian who vocalizes his disgust with slavery. Solomon is reluctant to trust Bass with delivering a message to his friends in New York, since a white man betrayed Solomon earlier. The first man, a field hand, was played by a relatively unknown actor, and thus the shock of the portrayal is not as great as it would have been if a star like Brad Pitt, who made a career playing the Hollywood “good guy,” turned in Solomon to the plantation owner. Solomon eventually opens up to Pitt, and Pitt’s character alerts Solomon’s family and friends, ultimately leading to his freedom. The fact that the film’s biggest star, albeit in a very brief appearance, allows Solomon Northup to regain his freedom seems almost too neat and convenient in a depiction of slavery. The film would have been much more suspenseful and effective in communicating the savagery and confusion of slavery if Pitt played the field hand who betrayed Soloman, reinforcing its communication of slavery’s brutality and destroying the audience’s comfort. Many expect a star like Pitt to show up and save the day, which he ultimately does. Shattering expectations set by years of Hollywood tradition would have created a seemingly harsher depiction of slavery where no one, not even Brad Pitt, is able to be trusted.
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