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Solomon is played by Chiwetel Ejiofor: an enormously talented English actor getting the right break at the ideal moment.
Solomon Northup ist ein freier Afro-Amerikaner, der in New York als freier Tischler arbeitet.
Stars: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o, Benedict Cumberbatch, Paul Dano, Brad Pitt, Alfre Woodard, Adepero Oduye, Paul Giamatti, Sarah Paulson Soon after its world premiere last year, 12 Years a Slave was widely described as the best film that has yet been made about American slavery.
In the film’s early scenes, we watch Solomon stroll around his home town of Saratoga with his wife (Kelsey Scott) and children, and, Ejiofor moves with a gentle confidence that makes his later imprisonment seem not just inhuman, but illogical. Seine wahre Leidenschaft ist allerdings die Musik, und als zwei vorgebliche Zirkus-Betreiber ihn in Washington DC als Musiker engagieren wollen, wirft er seine Bedenken uber Bord. Wenig spater findet sich Salomon seiner Identitat beraubt in Louisiana wieder, wo er als Sklave arbeiten muss.

Sollte er je seinen wahren Namen und seinen Status als freier Mann erwahnen, so sagten sie ihm, werde er sterben.
Eines Morgens findet er sich in Ketten gelegt auf einem Schiff Richtung Louisiana wieder und wird dort als Sklave verkauft.
In den folgenden 12 Jahren wechselt er mehrmals den Besitzer, und damit auch oft die Beschaftigung und die Art, wie er behandelt wird. Hoffnung bluht erst auf, als er auf der Plantage von Edwin Epps den wei?en Tischler Samuel Bass kennenlernt. There have been other films about American slaves, and films that have described or depicted the American slave trade in some way too: not many, but enough high-profile ones, from Gone With the Wind all the way to Mandingo, for the topic not to feel like unmapped territory.
Ihm vertraut er eine Nachricht an seine Familie an, welche in New York einen befreundeten Anwalt engagiert, um Solomon nach zwolf Jahren als Sklave endlich zu befreien und nach Hause zu bringen. We watch Solomon hanging from the branch of a cypress tree, his tiptoes slip-slip-slipping in the mud underfoot, his throat stretched long by the noose, his breath coming in shallow clucks.

Behind him, the other slaves meekly go about their business, but McQueen doesn’t let us join them. Django’s most startling scenes come glazed with irony, and it ends with a cathartic bloodbath that allows us to leave the cinema feeling that justice, of a limited sort, has been served.
Its black characters are drunks and rapists, played by gurning white actors in blackface, while the Ku Klux Klan are shown to be saviour knights of the new republic. Think again of that strange lack of films about American slavery, and wonder how long it will take for cinema to exorcise these demons.

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