I imagine that the trickiest thing about producing a “message movie” is the often-unavoidable sacrifice of entertainment value for sociopolitical significance. Making a statement while allowing audiences to enjoy themselves is tough for a mainstream filmmaker; you’ve got to stimulate minds without having them work too hard for their reward. Luckily, Americans have begun to embrace motion pictures with something to say over the last few years – at least those that are edgy, bleak or cynical (The Social Network, Crash, Precious).
But DreamWorks’ period drama The Help has gone against the grain, combining warm comedy and a moving Southern-set civil rights story that has resulted in one of the most balanced and thorough films of 2011. Though its text, which centers on a handful of housemaids in Jackson, Mississippi who tell their respective tales of what it’s like working in white homes to an aspiring writer, is somewhat dated in the 21st Century, the underlying themes of familial connections, friendship and fairness are as resonant as they ever were. Kudos to writer-director Tate Taylor, who successfully dramatizes Kathryn Stockett’s lauded novel with unobtrusive guidance and taps into the essence of the issues without hammering too much judgment upon his characters or the moviegoers.
He must also be applauded for gathering one of the most eclectic ensembles to grace the big screen this year, and knowing when to let them shine on their own. Viola Davis is no stranger to meaty roles, and she’s finally given a platform to show the world what she can do as a leading lady in The Help. Displaying maternal gentleness and stoic morality when she’s not playing Aibileen Clark as the cautiously reserved character she’s been conditioned into, we’re put through an emotional rollercoaster thanks to her performance. She’s absolutely committed to her role and stands out throughout the picture in spite of a stellar supporting cast that could’ve easily stolen the show.
Most noteworthy is Octavia Spencer - who’s up for supporting actress awards – as the Ying to Davis’ Yang. Where Aibileen is passive regarding social injustices, Minny Jackson is aggressive, taking matters into her own hands while dealing with a trying domestic nightmare. Though the material requires her to play into many African American stereotypes, she elevates her character in various heartfelt scenes and serves as the truth-spewing voice inside all our heads. In addition to these fantastic turns, Jessica Chastain and Bryce Dallas Howard are a joy to behold as rival socialites with very different opinions, and Emma Stone proves herself capable of navigating dramatic territory.
Deep-fried in southern charm and 1960s nostalgia, and busting at the seams with wide-eyed optimism, The Help is a rare occurrence – a feel-good family flick that initiates a serious discussion about class and race. Even more impressive is that Taylor never lets the movie dip into artificiality despite the costumes and make-up employed to accurately represent the period. The pain, pleasure, heart and soul of the picture is 100% organic. Simple, smart and satisfying – exactly the kind of film that the Hollywood Foreign Press Association and the Academy of Motion Picture Arts and Sciences tends to vote for.