THE HELP: Mothers, Ma'ams and Maid Matters

The Help will make you laugh, cry, reflect, think, and at times feel uncomfortable or a little angry, but it will not leave you empty and it will not disappoint. Filmed and set in Mississippi, the story unfolds in the 1960s built on the surface around relationships between African American maids and the white children they care for. The deeper structure is set around the voice and principles of domestic Aibilene Clark – powerfully played by Viola Davis (who reiterates in this film that she is an A+ actress); Eugenia “Skeeter” Phelan – well-played by Emma Stone - a recent graduate of Ole Miss who returns home to Jackson with aspirations of becoming a writer about things that are important; and, Octavia Spencer, who flirts with stealing the whole film as Minny, a no-nonsense domestic who knows how to be a maid, but also knows how to get even. There are no easy leads in this film. Bryce Dallas Howard takes her role as the manipulative, self-righteous, Southern Belle bigot Hilly Holbrook to iconic proportions, supported superbly by Ahna O’Reilly as Elizabeth Leefolt, Hilly’s strongest co-hort in maintaining Jim Crow social traditions; Anna Camp as her quietly cunning and giggly socialite friend Jolene; and, Sissy Spacek as Hilly’s aging, psychologically abused mother who despite dementia, remembers “two things”. Accolades are also due Jessica Chastain as the vulnerable, social outcast Celia Foote, wife to Hilly’s ex-boyfriend; Allison Janney as “Skeeter’s” ailing, remorseful mother; and Aunjanue Ellis, who gives an emotional portrayal of a mother willing to pay a tremendous price to educate her sons.

Love is a core element. No one epitomizes its implications more acutely than Aibilene, who loves others with such intensity, restraint and purity that she has little left for herself and who struggles in the face of this depletion with the scriptural mandate to “love your enemies”. The unlikely bonds, risky alliances, and ironic courses of events reverberating through this racially sensitive film are intensified by the obvious chemistry and dramatic synergy of the performers themselves. Director/writer Tate Taylor brought a cohesive believability, candor, and spirit to the screen in The Help – it is a model of good filmmaking and good acting. It’s also memorable largely because of some great (at least one graphic) one-liners. Kudos to author Kathryn Stockett for writing the book and for assisting longtime friend Taylor in translating this story of humanity into a meaningful film.

There should be great reward when Oscar nominations come around, and it should not come as a surprise to anyone if a statue or two ends up in the hands of an actor, its director or its writers.


Grade: A