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"Help" is a safe movie about a volatile topic. Presents itself as a story, as the African American maids in the south have regarded their employers during the Jim Crow days, it is also the story of how a young white woman has empowered to write a bestseller of them, and how this book transformed that Mother of the author. We look forward to the two white women, and a third, but when the movie ends, it is still Jackson, Mississippi and Ross Barnett is still governor.
This is still a good movie that is traded and wonderful. I was drawn in the characters and pretty much moved, although I was aware of all the time that it was a feeling-good fable, a story that deals with pain, but no matter that it is not so painful. We do not always go to the cinema to sweeten the truth, but more often for reassurance: yes, racism is horrible and cruel, but hey, not all whites are bad.
The story, based on the bestseller of Kathryn Stockett, focuses on Skeeter Phelan (Emma Stone), a recent college graduate, which comes home and she finds that she does not fit so easily. Stone has a top bill, but her character seems a familiar guy, and the film is stolen, a scene at a time, two other characters: Aibileen Clark (Viola Davis) and Minny Jackson (Octavia Spencer).
Both are maids. Aibileen spent her life as a nanny that raises little white girl. She is very good in it, and gives them really their love, though they grow when they grow up, they have an inexorable tendency to turn into their mothers. Minny is a girl shot by a local social leader, which is then set by a white garbage blonde. Davis and Spencer have such luminous qualities that this becomes their stories, maybe not quite from the design.
The Society Lady, Hill Holbrook (Bryce Dallas Howard), is an inexorable social climber that fires Minny after many years of service. The blonde is Celia Foote (Jessica-Chastain, from "the tree of life") married to a big businessman desperately, to please him, and knows that never had learned something about a housewife.
Minny needs a job and is looking forward to working for you. Celia only wants her in the days when her husband is gone, so he will believe he cooks her and enjoys her cleaning. Minny helps her with these tasks and many more, a heartbreak, and fills them with realistic advice. Chastain is untouched and contagious in its performance.However, "Celia does not listen to the Council of Minny, but if she is concerned with a large local charity events (for yes, hungry African children), and the event delivers the comic heart of the film. Celias Comeruppance does not have much with the main story, but it gets many big laughs. Some details about a box seem to belong in another type of movie.
Skeeter convinces Aibileen and then to honestly talk to her honestly, share their stories, and how the book develops, does their insight and anger. A gloomy subplot involves the puzzle why the beloved nanny of the skeeter, who has worked for the family for 29 years, disappeared while skeeter was gone at school. Her mother (Alison Janney) houses the secret of Nanny's disappearance, and after he disclosed it, she will be in a large late scene of salvation of a heart change.
Two observations for what they are worth. Smoke all white in the movie. None of the blacks do it. There are several white men with important roles, but only two black men, including a preacher who has a lot to say.
There was a movie in 1991 named "The Long Walk Home", who played with Whoopi Goldberg and Sissy Leacerk as a maid and their employer at the time of Montgomery busbusboycott. It had sharper edges as "the help". But I suppose the Stockett novel has many loyal readers, and that this is the movie you can imagine while reading. It is very entertaining. Viola Davis is a natural weapon and Octavia Spencer has a wonderfully expressive face and a flawless comic timing. Praise also for Emma Stone, Bryce Dallas Howard and Alison Janney. They would have benefited from a fear of fear, fearless script.
Roger Ebert was the film critic of the Sun Times from Chicago from 1967 to his death in 2013. In 1975 he won the Pulitzer Prize for outstanding criticism.
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