“The Help” was released with some controversy back in 2011 as it was based on a 2009 best seller by Kathryn Stockett, a white woman who wrote about African American maids’ experience working in the houses of white people. Many would have preferred to have had a black man or woman write this story, but it is important to note Stockett was herself raised by a black maid who instilled her with a strong confidence which proved to be unwavering, and this was all while her mother was absent from her life. Plus, Stockett, as represented by the character of Eugenia “Skeeter” Phelan, captured the voices of these ill-treated black women with really piercing honesty, and she made herself a vessel for their voices to be heard. From the start, she made it clear to the world that this book was about them and not her.
The movie version comes to us wrapped in a bow of beautiful colors and a very appealing movie poster. I kept think of Rob Reiner’s “Ghosts of Mississippi” which blew the opportunity to make audiences aware of who Medgar Evers was at the expense of some truly bland while characters, and neither Alec Baldwin or James Woods could not save the movie from its inescapable banality. “The Help” looked like it would make the same mistakes, but thankfully it does not. Regardless of whatever flaws it has, it is still a deeply felt motion picture which revisits a painful part of American history people have either forgotten or are sick of revisiting.
At its center is Skeeter (Emma Stone), a recent college graduate who gets a job writing a housekeeping column for the local paper in Jackson, Mississippi. After reuniting with good friends in her hometown, she finds herself perturbed by the senseless racism which has divided the blacks and whites in an almost unspoken way. Skeeter also becomes concerned as to the whereabouts of the maid who raised her, Constantine, as she has vanished without a trace. These events compel her to start writing a book of the travails black housekeepers go through, and she is determined to capture their pride, heartache and deep-seated anger resulting from their thoughtless mistreatment.
This could easily have been a manipulative motion picture filled with cloying emotions, but the filmmakers have given us a variety of characters, black and white that are complex and who never come across as simply caricatures. Each one has their own needs and desires which conflict with those of others, and after a while it becomes clear their problems do not always have to do with race.
The black maid Skeeter leans on the most is Aibileen Clark, played in a powerhouse of a performance by Viola Davis. Just as she did in “Doubt,” Davis inhabits her character with a pride which, while wounded, remains defiantly strong. While her voice projects a kindness and understanding on top of an obedience to her employers, Clark’s face and eyes betray a huge resentment which has long since reached its boiling point.
The next black maid who contributes to Skeeter’s book is Minny Jackson, played in another great performance by Octavia Spencer. She proves to be the most outspoken of the bunch which results in her getting fired quite often, and yet she is reluctant at first to talk with Skeeter about her experiences. We later see Jackson getting her revenge in a way which somehow feels inspired by episodes of MTV’s “Punk’d” or “Jackass.” Spencer gives “The Help” a great sense of humor it might have otherwise not had, and she is every bit Davis’ match.
Minny also develops a highly unusual relationship with the hopelessly naive Celia Foote. Unlike other working relationships, she gets the opportunity to be blunt with Celia and tells her what she needs to hear. I found the friendship between them to be one of “The Help’s” most welcome surprises. Jessica Chastain brilliantly portrays Celia Foote, and she has long since proven to be one of the best actresses working in movies today.
As for Emma Stone, she proved to be a revelation here, and she holds her own against a large number of acting stalwarts. Stone imbues Skeeter with a hard-won independence which never waivers. I love how even in Stone’s eyes you can see her determination in proving how strong a woman Skeeter is and of the sincere goodness in her heart. If she has not proven herself as a dramatic actress before this movie, she certainly did here, and now she has an Oscar to make this clearer to those foolish not to pay attention.
The majority of the white characters in “The Help” could have all been one-dimensional idiots, and while several of them make assumptions which are as ridiculous as they are racist, we see other sides of their personalities as well. One white character who can be seen as the movie’s chief villain is the snobby Hilly Holbrook, played in a truly gutsy performance by Bryce Dallas Howard. Her superiority against the black maids turns out to be driven more by fear than anything else, and realizing this at the film’s end gives Hilly a dimension we weren’t sure she had in the first place.
Howard has done phenomenal work over the years, and she was a good reason to actually see some of M. Night Shyamalan’s movies like “The Village.” She has also given us reasons to sit through “Jurassic World” and its sequel as well as “Spider-Man 3.” While those movies failed to reach the heights of greatness, she gave you a reason to watch them in the first place.
Other great performances in “The Help” come from Allison Janney as Skeeter’s mother, Charlotte, who goes from being a stubborn mother desperate for her daughter to get a man to someone who regrets the decisions she has made in her life. Sissy Spacek is a hoot throughout as Hilly’s mother, Mrs. Walters, who delights in her daughter’s misfortunes as her dad made the unforgivable mistake of spoiling her rotten. One underrated performance comes from Chris Lowell who plays Skeeter’s eventual boyfriend, Stuart. He starts off as an arrogant young man who thinks he has women all figured out, but he later comes to his senses thank goodness.
“The Help” is not perfect and does get a bit too cute at times, but its emotions ring true thanks to the acting and the direction by Tate Taylor who is a longtime friend of Stockett’s. It skirts the conventional narrative to give us something more authentic which is not, if you will excuse the expression, white-washed like so many other Hollywood movies. It covers a subject which we have no choice but to revisit as history repeats itself much too often, and it says a lot about the movie that it jumped from number two to number one at the box office in its second week of release.
* * * ½ out of * * * *