Runtime 2 H 26 Minutes;
resume The time, the early 1960's, the place, Jackson, Mississippi. Eugenia Phalen – Skeeter to her friends and family – has just graduated from Ole Miss and has returned home in part to take care of her seriously ill mother. Unlike her female friends and colleagues who used their Ole Miss time solely to find a husband, Skeeter, who has never dated or had a boyfriend despite wanting romance in her life, strives primarily for a career, either as a serious journalist or editorialist. In Skeeter's social circle, the family servants, called "the help", are exclusively black. The female servants do the cooking and cleaning, but their primary responsibility is child rearing. The servants get passed down within families from generation to generation, so the child that they raised ultimately becomes the boss. Fifty year old Aibileen Clark is one such servant, who works for Skeeter's easily influenced friend, Elizabeth Leefolt. Skeeter asks Aibileen to help her with her newly acquired job, answering a housekeeping advice column. However, incidents that happen around Skeeter, including her mother seemingly being less than forthright about what happened to their own now absent female servant, the elderly Constantine Jefferson, who raised Skeeter and who Skeeter loved like a mother, make Skeeter come to the decision to write about the experiences of the black female servants in relation to their white bosses. Elaine Stein, a senior editor with Harper & Row in New York, approves the concept, but she knows that Skeeter getting the servants to talk, which Skeeter ultimately discovers is against the law in Mississippi, will be difficult if not impossible. Aibileen, the first and only servant who Skeeter asks, initially refuses Skeeter's request. But incidents around Aibileen ultimately get her and her acerbic-tongued best friend, Minny Jackson, who has long worked for the Walters family and now works for the Walters' racist daughter Hilly Holbrook, to talk to Skeeter on the sly about their experiences. One of those incidents involves Hilly's "Home Help Sanitation Initiative", which would ban any black servant from using their white employer's washroom. Minny's experiences also include those with Celia Foote, a young uncultured woman new to the area who has never had servants, who is now married to Hilly's old boyfriend Johnny Foote, and who is shunned by Hilly and her social circle for supposedly cheating with Johnny while he and she were still dating. Even if Harper & Row or any other firm publishes the book, Skeeter and by association any servant who helped her may have a continued rough road ahead in overcoming the resulting wrath, especially by Hilly and her type;
8,8 / 10;
Writers Tate Taylor, Kathryn Stockett
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“The Help” is ostensibly about “Skeeter” Emma Stone, pretty, but ineffectual) a privileged, college-educated white woman in the 1960s of the American South, who decides to collect the stories of the black maids who have worked for the families of those she knows well. just as the civil rights movement is about to explode.
This premise intrigues. The problem is that the focus is spread thin. There are many story lines to follow: Skeeter is the only woman in her group that isn’t married, so we must keep up with her courtship with the troublesome (at first) Stuart (Chris Lowell) who is foisted upon her by her well-meaning gal pals; Charlotte (a perfect Allison Janney) Skeeter’s mother, has cancer and vacillates between being sick and well; she also was responsible for firing Constantine (Cicely Tyson, who looks ancient) although we don’t know that at first, so the movie “hints” at some kind of “drama” that we must wait to find out about; then there are the stories of all Skeeter’s gal pals, their husbands, kids, and maids. I mean, I was exhausted trying to keep up with all of it. it was, in fact, a soap opera.
Where do our loyalties lie in this movie? We often hear the voice-over of Aibileen Clark (Viola Davis) and, indeed, she is the first maid that Skeeter approaches, but she is not the star of the film and the story is not told only through her eyes. Skeeter is supposedly the “writer” in this story, and she does manage to convince a New York publisher, Miss Stein (a brilliant Mary Steenburgen in several brief scenes) that she has a story to tell. but the fact is, it is not her story. All she has done is essentially transcribe what the maids have told her. How this qualifies her to go off at the end to NYC to pursue a career as a writer escapes me. Prior to this, she stumbled into a position at the local paper covering a housekeeping how-to column, and the way she got the tips for that was by interviewing the maids! So, I’m sure she could put together a sentence, but the fact that she essentially was a transcriber does not make her a “writer.” She does, thank God, divide up the royalties she gets from the book between herself and the maids that told her the stories, but, again, I don’t get how she is anything more than a typist.
And then we have to endure this incredibly contrived scene where Skeeter, despite her offer to go to NY to pursue her dream of being a writer, tells Minny and Aibileen that she isn’t going to go, because she has to stay there to “be with them” considering all the “trouble” she’s created. Give me a break- like what would she do? Shelter them in a basement?
And then, at the end, as Aibileen walks away from her last job and reflects on her life and how she always thought there would be a writer in her family- her son (who was murdered) states in her final VO that in fact SHE was the writer. and that is by virtue of the fact that she “wrote down” her stories that she ended up telling to Skeeter. If Skeeter had really wanted to “help” them, she would have submitted Aibileen’s stories to Ms. Stein instead of “copying” them. Honestly, what did Skeeter write? Nothing original as far as I could tell.
The most interesting storyline of the film, to me, was between Minny and Celia (a perfect Jessica Chastain) the white trash girl who married good. The scenes between them were touching and earnest and heartfelt. Race lines were crossed; it was really the story about two women helping each other through difficult moments. I could have watched an entire film just about the two of them.
Another revelation is Bryce Dallas Howard as Hilly Holbrook, who is obviously the Queen Bee of Skeeter’s gal pal group. She is convincingly racist, cruel, elitist, snobbish and completely self-centered. It was a pitch perfect performance, as was Sissy Spacek’s as her mother, who has a touch of Alzheimer’s, but not enough to keep her from putting Hilly in her place. A special mention must be given to Leslie Jordan who plays Skeeter’s irritable boss Mr. Blackly. It’s quite clear that he can deliver a punchline with the best of them; he got me howling in short order with his eye- rolling, sarcastic blasts, not to mention his amazing somersaults later on in the film (a completely unexpected scene.
Still, the film belongs to Octavia Spencer. She was hysterically funny (effortlessly) could go from dramatic to sad to desperate to joyful- hell, she could just about summon up any emotion asked for her at a moment’s notice. In reading the script, I could see that she took some lines that could have been delivered flatly by other actresses and gave them a life that I can’t imagine that even the screenwriter had thought of. I really hope that she will not get the “Oscar curse” and will be rewarded with challenging roles that will take advantage of her gifts. I will gladly follow her career.
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