“The Help”– “Telling the Truth Can Be a Revolutionary Act”
Based upon the best-selling 2009 novel by Kathryn Stockett, “The Help” is a vision of a divided America that is consistent, sometimes terrifying, in its insulting, insinuating dehumanization of African Americans. This movie is also easy-to-like –problematic but ultimately winning–and has now earned a huge $154.4 million in box revenues.
Skeeter (played competently by Emma Stone), a young white journalism major who has recently graduated from the University of Mississippi, has returned home to Jackson to find that Constantine (Cicely Tyson), who raised her, no longer works for her mother. As Skeeter tries to find out what happened to Constantine, she begins to see the reality of life in Jackson for the black residents who are a vital part of the white community’s quality of life. Aibileen (impeccably portrayed by Viola Davis), the heroine of the movie, tells her life to Skeeter who secretly interviews her at night. Slowly other maids bravely come forth, at great personal risk, to tell their stories of the same suffering, the same humiliating circumstances on the cusp of the civil rights revolution.
Irony is often heavy handed. For example, the Junior League’s fund-raising for the sake of “the Poor Starving Children of Africa” while treating the poor African-Americans of Jackson as if they were subhuman. Minnie, another black maid, is defiantly humorous. Played by Octavia Spencer who seems to be paying tribute to the maids portrayed in the 1930’s and 1940’s by notable African-American actresses with few options in theater or cinema, her bravura performance adds a much-needed comic element.
The cycle of racism spins in too-familiar patterns. The white babies the black maids raise become the housewives who insult them. Only Skeeter is motivated to change things for those who have cared for her and her peers. One other young white woman in town, Celia (again, a superb Jessica Chastain of “The Debt” and “The Tree of Life”), seems to see the ugly truth underpinning the superficial beauty of the town.
The extraordinary actress, Viola Davis (from “Doubt”, and the Tony award-winning “Fences”) infuses Aibileen with a dignity and warmth that fully reveals an exceptionally strong female character in spite of some of the caricature that her role could have conveyed. “The Help” belongs to her. Even when the story drifts to the white women from hell –the Junior League Ole Miss debutantes epitomized by Miss Hilly (fiercely played by Bryce Dallas Howard), Davis’s performance lingers in the viewer’s mind, with tough, wrenchingly vulnerable scenes with a pudgy, insecure little white girl at risk of irreparable damage. Another story is also a subtext, however. Inside all these different homes, black and white, women with hearts and souls tended to the urgent matters of everyday life, like the care and feeding of children, and the seeking of approval from their husbands. The white women are no happier than the black women, only meaner and more frightened by the impending change they can feel subliminally. No one voices their frustration with their circumstances except, in the end, the help.
This movie could have devolved into a cartoon of good vs. evil, but the actresses refuse to demean their characters by mocking them in such shorthand. Only Miss Hilly and Elizabeth, the two most strident racists among the socialites, are virtually one-dimensional. But these actresses find every possible nuance to show their neurotic tendencies, their fear of social ostracism and save their performances from being caricatures.
The era evoked in “The Help” is not even fifty years ago but presents us with the painful recognition of the best and the worst of US race relations.
Update: For an additional article (November 9) about “The Help” which I wrote, go to the website www.womensmemoirs.com.