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The Help helps white folk help themselves
THE HELP: Directed by Tate Taylor. Written
by Tate Taylor, based on the novel by Kathryn
Stockett. Cinematography, Stephen Goldblatt.
Editor, Hughes Winborne. Music, Thomas
Newman. Starring Emma Stone, Viola Davis,
Octavia Spencer, Bryce Dallas Howard,
Jessica Chastain and Allison Janney. Walt
Disney Studios, 2011. PG-13. 137 minutes.
44211
I
t feels like a tiny miracle that The
Help’s stars are all women, yet
no one’s treating the fi lm like it’s
wrapped in pink tulle and only meant for
women to see on friend-dates with their
fellow ladies. In a summer cinematic
landscape of screaming victims and bland
girlfriend clichés, The Help serves as a
reminder that women’s roles aren’t limited
to acting as accessories to men.
If only the fi lm were satisfying for any
other reason.
The Help follows a handful of fi ctional
women in Jackson, Miss., in the early
1960s. Recent college graduate Eugenia
“Skeeter” Phelan (Emma Stone, a little out
of her depth), has come back to Jackson
and gotten a job at the newspaper, seeking
experience in order to land a job at a New
York publisher. Her friends, all married
and perfectly coiffed, throw bridge parties
and host Junior League meetings, ruled by
the sweet, toxic smile of Hilly Holbrook
(Bryce Dallas Howard). When Hilly
doesn’t like someone, that someone might
as well not exist socially, as guileless Celia
Foote (Jessica Chastain) discovers.
The privileged women match the look
of Tate Taylor’s fi lm, which loves to linger
on bright dresses, shiny hair, summery
sunlight and insincere smiles. Those smiles
instantly drop when the women talk to their
housekeepers. Without fail, Elizabeth Leefolt
(Ahna O’Reilly) speaks sharply to Aibileen
(Viola Davis), while Hilly fi res one woman,
Minny (Octavia Spencer), and tells her
replacement that she’s doing her a favor by not
lending her money to send her son to college.
Skeeter, whose wide eyes begin to see
the injustice in this accepted arrangement,
serves as the modern white audience stand-
in (not least because she’s unmarried and
career focused). We can all tell ourselves
that we would’ve been Skeeter, kind and
open-minded, and never Hilly, who believes
all homes should have separate bathrooms
for the white homeowners and their hired
help. Nasty, vindictive and unaccountably
powerful, Hilly is a one-note villainous
twit, and her character takes the place of the
complex racial strife that really existed. The
Help occasionally peeks at the world outside
its characters’ immediate experience,
usually via TV or radio broadcasts, but
the fi lm is strangely self-contained, a safe
fantasy about evoking change in a bubble as
the civil rights movement builds momentum
all around.
The Help was divisive before it was
a fi lm. On one side, Kathryn Stockett’s
novel got glowing reviews; on the other, it
earned thoughtful, pointed criticism from
those who saw Stockett as perpetuating
stereotypes and using the real experience
of black women as backdrop to a white
woman’s journey of self-realization.
Taylor’s movie appears to try to address
some of the criticism by moving the
black characters further into the forefront.
Skeeter serves as catalyst, pushing
Aibileen for stories, but much of the air
goes out of the story whenever its focus
slips away from Aibileen and Minny. And
much of the credit for that goes to Viola
Davis, who elevates the fi lm from just
middling to fl awed but watchable. You’ll
have to swallow a scene that compares a
white girl’s lack of self-confi dence with
the casual contempt a black housekeeper
endures, and spend far too much time in
the company of Hilly Holbrook, and you
won’t experience any history that hasn’t
been reshaped to fi t a simplifi ed cinematic
mold. But you’ll see Davis — and an
excellent supporting cast in Allison Janney
and a giddy Sissy Spacek — bringing
gravity and grace to a fi lm that otherwise
smoothes still-relevant issues into a feel-
good fl uff-fest.
ew
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Times For 08/19 - 08/21 © 2011
EUGENE WEEKLY AUGUST 18, 2011 21