Book to Film: 12 Years a Slave

Book To Film:
12 Years a Slave

             

             The book and film adaptation of 12 Years a Slave contrast largely from time to time, but they are able to hold the same spirit in both forms. Both are impressive and immersive pieces of art, and both are pretty outstanding. In this essay, in a continuing series from last month, I will be examining both the original book written by Solomon Northup and the movie adaptation directed by Steve McQueen. In doing so I will give my opinion on both and talk about the differences between the two.

   The Book

            As far as autobiographies from the 1800s go (or at least those that I’ve actually read) this is a pretty great one. It’s a tragic book, and it’s often hard to read about Solomon’s harrowing experiences with slavery and at the same time is oddly compelling and fascinating to read. It is also a very important book because it depicts slavery first hand. The most surprising thing about Solomon’s writing is how he describes the lighter side of slavery as well as the dark. He talks about his first master William Ford (Benedict Cumberbatch in the film) and Samuel Bass, the man who helped him regain his freedom (Brad Pitt in the film) with great respect and admiration. That being said, the prominent dark side of slavery is very vivid and brutal. This is personified by the likes of Theophilus Freeman (Paul Giamatti), John Tibeats (Paul Dano) and most notably Edwin Epps (Michael Fassbender) as a brutal slave master. It is shocking that people this uncaring and violent ever existed, and I suppose still exist today. Not many books I’ve are as heartbreaking and true as this one. It is without a doubt an important book, and even more so a great one.

   The Film

            If the book is the definitive written work on slavery, then the adaptation is the definitive film about slavery. It may not be as fun as Tarantino’s Django Unchained, but is a more serious, more important, and an all around better movie, which is a major feet when comparing something to Tarantino. The book can be hard to read at times, but the film is a much harder thing to watch. The violence in the film is visceral and graphic, and definitely not for the week of heart or stomach. Going into the movie having read the book, I knew about the violence that was going to be shown. Even then it takes you by surprise. Amazingly it also manages to be a beautiful movie. It makes an interesting and effective contrast. The film is led by Chiwetel Ejiofor as Solomon, and he really is the backbone of the movie. He should probably win best actor at the Oscars this year. In fact, I wouldn’t be surprised if this totally sweeps the awards ceremony. It is a pretty fantastic film

   The Transition

            The film is as good an adaptation as your ever going to get, but it’s not always the most faithful one. While the movie definitely captures the soul of the book, it sometimes jumbles its facts. There are more than a few minor changes, like lines of dialogue given to different characters, but there are also a few major changes. For example, there is a whole section where there is a second encounter with Tibeats after he nearly hangs him. In this scene Solomon and Tibeats fight again, with Tibeats nearly killing him with an axe. Solomon ends up running away through the swamps until he reaches William Fords plantation again for refuge. This is entirely absent from the movie. The characterization of Edwin Epps also contrasted with what I pictured in the book. This is by no means a complaint though as I thought Fassbender played his part to perfection, just not what I had imagined. In the end, when it comes down to the spirit of the book the film matches it perfectly.

   Conclusion

            For me, this is one of those times that the film exceeds the book. They were both great, but the film just reached levels that the book couldn’t in the end.

-       The Novel: 10/10 – Compellingly written and timelessly potent.

-       The Film: 10/10 – Beautiful and brutal with a great ensemble and perfect filmmaking.