You will be redirected back to your article in seconds
Back to IndieWire

American Horror Stories: Why ‘The Wolf of Wall Street’ Should Be Drawing Comparisons to ’12 Years a Slave’

American Horror Stories: Why 'The Wolf of Wall Street' Should Be Drawing Comparisons to '12 Years a Slave'

Of all the scenes in “The Wolf of Wall Street” that are dripping with debauchery, there’s one I can’t shake. It’s a relatively early scene, when Stratton Oakmont, the brokerage-house brainchild of Jordan Belfort (Leonardo DiCaprio), has its first in-office gala of world domination. A marching band parades between cubicles. Dancing girls wiggle their assets while men gawk and grab. And one female employee, who’s so peripheral in the long haul that I can’t remember her name, takes a seat in front of the workaday masses and has her head shaved, an act for which Belfort gifts her a bonus of $10,000 (allegedly for a boob job). As her blonde locks fall to the floor, the woman, surrounded by other women, who are present for crude amusement, hauntingly holds her reward with both hands, the bills flittering between her fingers like gold coins found in a treasure chest. Watching this scene, the levels of flaunted, unfettered misogyny become incredibly hard to stomach. And as Belfort continued barking at his minions with dictatorial zeal, and the balding woman became more and more shorn and demeaned, a bit of déjà vu began scratching at the back of my mind.

What was the last scene of unrepentant, humiliating horror to elicit such disgust from me? It was Patsey’s (Lupita Nyong’o) near-fatal whipping in “12 Years a Slave.”

Before I continue, I should address the inflammatory elephant in the room. Some may argue that, by merely making this case, I’m trivializing the atrocities of slavery, irresponsibly putting them on even ground with the hedonistic exploits of a select group of loathsome stock brokers and their associates. I’m uninterested in debating the relative awfulness levels of slavery and modern Wall Street crimes, and I don’t wish to diminish the broader virtues of Steve McQueen’s film — which, for many, represents the bold, baldfaced outing of that which has long been tempered in popular culture. But the fact is, both of these films invite us to wallow in American horror stories with effects and implications stretching far beyond their respective microcosms. And in strict regard to unflinching formal and narrative approaches, wherein no unsettling stone is left unturned in exposing viewers to ugly truths, you don’t get much more extreme than these two sprawling indictments.

At the moment, perhaps the closest cousin to Scorsese’s latest isn’t “American Hustle” or “Goodfellas,”  both of which have now been serially compared to “Wolf” in a kind of filmic-influence love triangle, but a movie with fewer obvious similarities of genre. For all its absence of true moral takeaway, and its depictions of “bad” people doing very bad things, “American Hustle” is an unbridled joy to watch, with scant horrors to speak of. Apart from the interminably violent “Lone Survivor,” which you might call Peter Berg’s militaristic rehash of “The Passion of the Christ,” “The Wolf of Wall Street”” and “12 Years a Slave” are, in my mind, the two toughest-to-watch movies of 2013.

I keep coming back to the dual scenes of public shaming of women: One is so nasty in its satire that it left me inspecting the reactions of fellow filmgoers (“does anyone think this is funny?”), and the other is so brutal in its envelope-pushing punishment that, with every crack of the whip, I was hammered further into tearful submission. Of course, while the base feelings they conjure may be similar, the circumstances of these women are wildly different. The pitiful Patsey is rather hopelessly doomed, bound to a life she can’t escape and that will likely kill her, whereas Belfort’s office worker could quit her job if it finally became too much, instead of, if you’ll pardon the expression, playing slave to the almighty dollar.                

Such is where things get tricky, and where new links between “Wolf” and “12 Years a Slave” crop up. Patsey is one of the battered and oppressed, plain and simple; the office worker is a willful participant in a madly amoral profiteering machine, no matter how misogynistic her treatment at work may be. The point is, the two films’ troubling kinship shifts gears once you consider that everyone at Stratton Oakmont, including the female office workers, are abusers and oppressors, destroying the lives of thousands of unfortunates to boost their own personal clout. Even if only guilty by association, the Stratton Oakmont staff members are, in a sense, proxies for the slave owners presented by McQueen — figures of privilege who ruthlessly prey on those they see as lesser, and who steadfastly turn an inhuman blind eye to the harm they’re causing (or, in the case of “12 Years a Slave,” also scarily stare it square in the face). A further connection could be made between single-mother-turned-Stratton-Oakmont-Kool-Aid-guzzler Kimmie (Stephanie Kurtzuba) and slave-turned-plantation-owner-mistress Harriet Shaw (Alfre Woodard), two opportunistic women who drastically overlook their better judgment to advance their statuses and protect their own well-beings.

“The Wolf of Wall Street” and “12 Years a Slave” may not be the definitive accounts of stock-market corruption and American slavery (as some folks have opined), but they’re sure as hell the most in-your-face accounts the cinema has ever seen. And they both speak to a theme that’s permeated the movies of the moment. “12 Years a Slave” secured the No. 2 spot on A.O. Scott’s 2013 Top 10 list, but it could, in theory, have just as easily been bulked together with his No. 10 six-pack, which combined “Wolf,” “The Great Gatsby,” “Spring Breakers,” “The Bling Ring,” “Pain & Gain,” and “American Hustle” in a tie defined by excess and “capitalism, baby!” Wind back the clock 170 years, and you’ll see American excess and capitalism at its most hideous and morally bereft, when the elite and opportunistic didn’t just toss Benjamins to the wind and fill their pads with “shiiiiiit,” they collected human beings.      

The differences between “12 Years a Slave” and “The Wolf of Wall Street” are obvious. One offers a sympathetic hero, the other offers a despicable antihero (despite his many brilliant “Wolf” insights, I honestly can’t agree with Nick Pinkerton that I ever felt “complicit” in Jordan’s actions, as I may have in the actions of Norman Bates). One states its director’s motives as plainly as possible, the other veils them to the point of imperceptibility, beneath thick, pitch-dark layers of shockingly eerie comedy.

Does Scorsese condone the voracious lifestyle in which his movie unapologetically basks? I personally don’t believe he does any more than McQueen condones Michael Fassbender’s slave-owning Epps taking a bull whip to Patsey’s back. But the fact that Scorsese’s position is that much harder to pin down makes “Wolf,” for me, the more fascinating work. What’s more, the rotten, tainted soul of Belfort is intentionally buried within a landfill’s worth of unnerving satire, while the soul of cheer-worthy Solomon Northup (Chiwetel Ejiofor), which is meant to be readily within the viewer’s grasp, is inaccessible despite the best efforts of Ejiofor, unintentionally obstructed by McQueen’s preoccupation with showy form.   

I’m not out to play favorites; however, I do find it interesting that so many viewers and critics who’ve sung the praises of “12 Years a Slave” have griped that “Wolf” is redundant, excessive, and, as David Edelstein wrote in his takedown, “an endurance test.”  Are these not the same tactics of shock-and-awe employed in “12 Years a Slave?” Overwrought, over-the-top, yet accurate, scenes of human indecency paraded so as to expose the sick reality of American sin? Is Solomon Northup hanging from a tree with his toes in the mud for god-knows-how-long effectively different than Belfort capping off his relentless contempt for women by delivering a literal gut-punch to his wife Naomi (Margot Robbie)? (To be fair, Edelstein also reluctantly accused McQueen of being “guilty of overkill.”)

Ugliness is ugliness, horror is horror, and in their respective contexts, it’s fair to say “Wolf” and “12 Years a Slave” serve up equal doses of both. 

This Article is related to: Reviews and tagged , , , ,



Interminably long with repetitive scenes and so full of foul language it was disgusting.. Doesn't Scorsese know what cut means?

Michele Barbagallo

leon dicaprio was very good in the movie but overall the movie was disgusting and over the top raunchy. Martin Scor is greedy old and desperate. X rated not for the local movies I dont think and I am no prude. Is not a Golden Globe Movie and too bad cuz Leon deserved it for departed otherwise all the other movies suck including this one


Aside from showing perversions of what the American Dream is supposed to be, this comparison has some serious bull. The brutality of 12 Years A Slave actually has a purpose and is not merely for the sake of itself. It is not meant to be funny or humorous, it isn't just for show. The Wolf of Wall Street showing multiple episodes of debauchery just for the sake of itself as some sort of running joke has no bloody point. If that movie wins a single major award (Best Picture, Best Actor, Best Director) for showing 22 graphic sex scenes for no reason at all, then that means that porn should be allowed a category in all major film festivals, critics' circles, and major awards (BAFTAs, AMPAS, Golden Globes, SAG).

Breeda Wool

The massive difference between these films is that Michael Fasbemder's character didn't make a cameo at the end of 12 Years A Slave and real slave owners will not be receiving more slaves as a result of the success of this film. The real Jordan Belfort, on the other hand, was brought in by Scorsese, coached DiCaprio, and money will once again be filling his pockets with every award this film recieves. The "moral" of the story is that despite our long lasting racial issues in this country based on the fact that we systematically dehumanized an entire population of people in the name of money, we did actually make it illegal (the slavery part). The dehumanization of people in the name of money, however has flourished in this country unlike any previous civilization.

Masha Dowell

Yes, both are American Horror stories, but can we have both stories and not compare? I believe that is the right action to take. Many times our best learning experiences in life come from many movies that we see…and in this case, both films serve very different 'dishes'. Leave it that way.

ding dong

Uh, the relatively mild crimes of Wall Street vs. the horror torture porn of 12 Years A Slave? Yeah, I guess if you look at them in those terms, they are equatable. Otherwise, one might see the ways in which both movies horribly misrepresent the subjects they claim to represent.


If you want to see an explicitly sexual film with dignity I heartily recommend Blue Is The Warmest Color. I generally dislike violent films unless it's a film like Mean Streets (Scorsese's masterpiece in my opinion and a film I could enjoy with my mom) or the first two Godfather films. I have yet to see Wolf by the way. My mother wouldn't let me watch Roots as a child so obviously I have qualms about seeing 12 Years. I think it's a shame that so many of the great sexy classics like Women in Love (mom and I adored the nude wrestling scene)were made over forty years ago. A truly gifted artist can integrate elements of sensuality and realism in a film (as Scorsese did in Mean Streets and Bertolucci in Last Tango in Paris) without overwhelming the audience.

Daniel Delago

Liked both films but for me, the biggest difference in 'The Wolf of Wall Street' and '12 Years a Slave,' and 'American Hustle' for that matter, are the female characters. 'Wolf of Wall Street' doesn't have one interesting or multi-layered female character in the whole story where as the other two films do. Mind you, the world of Jordan Belfort and Wall Street doesn't have a need for those types of women. They are merely depicted as sexual objects. However, that is precisely why 'American Hustle' is my favorite movie of 2013. David O. Russell writes interesting females and the reason why A-Listers such as Jennifer Lawrence (Silver Linings Playbook) and Amy Adams (The Fighter) keep coming back to work for him.

Your email address will not be published. Required fields are marked *