#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Set in Mississippi during the 1960s, Skeeter (Stone) is a southern society girl who returns from college determined to become a writer, but turns her friends’ lives — and a Mississippi town — upside down when she decides to interview the black women who have spent their lives taking care of prominent southern families. Aibileen (Davis), Skeeter’s best friend’s housekeeper, is the first to open up — to the dismay of her friends in the tight-knit black community. Despite Skeeter’s life-long friendships hanging in the balance, she and Aibileen continue their collaboration and soon more women come forward to tell their stories — and as it turns out, they have a lot to say. Along the way, unlikely friendships are forged and a new sisterhood emerges, but not before everyone in town has a thing or two to say themselves when they become unwittingly — and unwillingly — caught up in the changing times.
Plot: Aibileen Clark is a middle-aged African-American maid who has spent her life raising white children and has recently lost her only son; Minny Jackson is an African-American maid who has often offended her employers despite her family’s struggles with money and her desperate need for jobs; and Eugenia “Skeeter” Phelan is a young white woman who has recently moved back home after graduating college to find out her childhood maid has mysteriously disappeared. These three stories intertwine to explain how life in Jackson, Mississippi revolves around “the help”; yet they are always kept at a certain distance because of racial lines.
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I just watched The Help, almost immediately after finishing the book. Now, when comparing The Film to The Book it was based on (generally speaking), one major rule of thumb almost always applies: The Book is better. The Help is no exception.
Accordingly, with the novel still so fresh in the back of my mind, separating my mind from the book in order to enjoy the film was an almost impossible task. No matter how hard you try, you just can’t quit comparing the two, nitpicking every detail and being frustrated with everything they changed. Nevertheless, I was still able to enjoy the film for what it was, though I am glad that I possessed full knowledge of the actual story.
The Help tells the story of black domestic servants in 1960’s Jackson, Mississippi. It focuses on white Miss Eugenia ‘Skeeter’ Phelan, and her efforts to give a voice to black maids by writing their stories from their perspective and thus giving them an opportunity to be heard for the first time in their lives. Among the black women, Aibileen and Minny are the two key characters.
So let’s just get the “bad” stuff out of the way. One of the elements in the novel that I enjoyed the most was the incredibly delicate bond of trust and understanding that builds up (over an extensive period of time) between Aibileen and Skeeter. It really does take Skeeter a long time before she finally wins Aibileen over and convinces her to share her deepest feelings with a white woman. In the film, this process felt rather rushed, like Aibileen just woke up the next morning and decided to do it. What bothers me about this is not just the fact that (oh, cliché) it was “better” in the book, but mostly because the film forgets to underline WHY it took so long. Not only is it much more clearly explained in writing that these black women face an incredible danger in divulging their true feelings about the white women they work for, the film also fails to capture the palpable tension and sense of urgency of the book. These women aren’t just risking their jobs, they are risking their lives, AND the lives of their loved ones. They’re in danger just for being seen talking to a white lady. I found this to be a rather big flaw of the film.
The film also lacks a lot of the character development I was hoping for. Quite a few character changes were made, so that in the film they all just kind of appear out of nowhere, and more or less seem to go about their business without – again – the big “why” of it all. One of the most underexposed characters was a woman named Celia Foote, who is a poor white trash girl who married way out of her league – and because of it, has to face the constant disgrace and condescension from the other stuck-up, “sophisticated” white ladies. Celia is just the sweetest, loveliest person in the entire story, and her relationship with her maid Minny is heart warming. The fact that they barely included this in the film is a real shame.
OK – if I keep comparing the film to the book, this review will never reach its end. Obviously, there is a lot more I could (and certainly want to) say, but it’s not really relevant to the effectiveness of this review. So, moving on.
At least they got the actors right! Each and every one of them was cast spot-on to their character. Emma Stone is wonderful as Skeeter –capturing her youthful daring and naiveté perfectly. There’s also something about her voice and attitude that make it clear that this girl is different from her snooty bridge club peers. Viola Davis is the perfect Aibileen – all I kept thinking was, damn, she should have gotten that Oscar. Her performance is very moving and heartfelt. Octavia Spencer did actually win an Oscar for her role as Minny, and it was well deserved. She is exactly as I imagined Minny to be – sassy, smart-mouthed and with an attitude that could render any white woman speechless, even if it means losing her job a dozen times. Celia Foote is played by Jessica Chastain, and I fear I’m at risk of doubling over in superlatives to describe how perfect she was, so I’ll just leave it at this.
The Evil Witch in this story is Hilly Holbrook, played by Bryce Dallas Howard. I’m not sure how big of a compliment it is to say that she is very good at playing a snide, cunning racist – so let’s just say she is a very good actress. Another actress worth mentioning is Allison Janney, who plays the role of Skeeter’s mother. Though she is not quite like I imagined her the way she was in the book (there we go again…), I always enjoy her performances very much and this one’s no exception. Oh, and Sissy Spacek plays Hilly’s mother, and she is a delight to watch. I got the feeling that the director extended her role to a little more than what it was in the book, just to give her more screen time. I don’t blame him.
Overall, the film is properly paced and reasonably well-constructed, though some creative liberties are taken here and there considering the timeline. In comparison to the book, it is a little disappointing, but I can’t think of a single book-to-film adaptation where this wasn’t the case.
I still rate The Help 8 out of 10, because I think it is an important story to be told and the performances are stellar, but if you have a little more patience, I strongly recommend reading the book instead.
Great setting, cast, story and performances. A must to be seen.
Ready to burst . . .
I grew up in the 60’s, the setting for The Help, a story of Southern prejudice and cruelty toward African Americans, who were chattel of the Southern rich treating their servants as expendable and marginal. I can say that as a Northerner with a black maid for our household, there was love but always a barrier, a carryover from the strict separation still prevailing after reconstruction.
Director Tate Taylor keeps the race relations taut but not strident, as if we were living through the emerging civil rights movement slowly but inevitably aimed at equality, not “separate but equal.” Skeeter (Emma Stone) graduates, returns to Jackson, Miss., and decides to write about the black help, whose “perspective’ needs to be told. As more maids join in the writing of the manuscript, the more possible it is to counter the assassination of Medgar Evers and eventually that of Martin Luther King.
While we have grown used to the base scatological humor of the Hangovers, Change-UP, and other rom-coms, the fundament motif in The Help is as low-key as will ever be depicted in film. Not only is the idea of the bad guys “eating s—t” effective, it is funny and poignant.
A note about the performances—Bryce Dallas Howard as the conservative, prejudiced Hilly, is remarkably successful, making her a full-fledged actress and not just a famous director’s daughter. Jessica Chastain as the ditzy but big-hearted Celia Foote cements her place as a great modern actress following her memorable role as the compliant wife in Tree of Life. Emma Stone no longer need rely on rom-coms, for she stars in The Help with a performance nuanced and underplayed, just the way I like it, albeit a bit too hip for the times.
Although the film tends toward the simplistic, e.g., there are no bad blacks and most whites are obtuse, Viola Davis as maid Aibileen Clark successfully carries the film displaying the ambivalent nature of slavery ready to burst out of its chains.
I went and saw The Help last night.
I must say, I was pleasantly surprised. It wasn’t as offensive as “The Blind Side” (ala the big overgrown, illiterate, strong as an ox, loyal, gullible, clown saved by a white Christian savior caricature) but the overall story was pretty watered down.
The acting is solid, but I was torn about this movie. It does elicit the “Great White Hope” character, in that the maids only come together through the unlikely liberalism and goodness of a young white character. Its message for the future is also disturbing. For example, toward the end, one maid is offered salvation by a white couple who offers her the security of being their maid for the REST OF HER LIFE…a deal that makes her eyes grow wide with happiness. Meanwhile, the main white character goes off to greener pastures outside the limitations of her town.
There are also some unsettling caricatures…like a “Mammy” figure who gets misty eyed when she talks about how frying chicken makes her feel good inside.
I think they were pretty spot on in the portrayal of the white “southern belles (given that I’m from Jackson myself).” They were mostly ridiculous, petty and cold…which, to my understanding, is how they really were. It makes for some good comedic moments.
This is a “safe” film…there’s no violence, and the threat of violence doesn’t feel very immediate or nearby. The racism of the day feels like an omniscient boogey-man…and the white men in the film are all portrayed in an indifferent “they could care less” light…which seems VERY unbelievable. And the Black men were either abusive, docile or messengers…I mean, not a single, strong Black man?
The real sad thing about this film is what it says about Black progress in Hollywood. I haven’t seen “real” roles for black women this year…and it’s telling that the project that employs the most black women at once is one where they all have to play maids. Even in a trailer shown before this film for “Tower Heist,” Gabourey Sidibe (from “Precious”) is playing a maid…complemented by Eddie Murphy playing a convict with expert knowledge on robberies. So, blacks are either subservient, criminals, comedic clowns…or the ever present “token black friend.” The exception to this rule are the few Blacks that are seen as being “negro-lite”…e.g. Will Smith, Halle Berry and Beyonce.
Many whites don’t understand why Blacks are sensitive to their portrayals on film…but whites have to realize…you have an abundance of images to choose from. However, we have very few. Imagine taking your children to the movies…and the people that look like them, on screen, are usually stupefied, marginalized, subservient or comedic to the point of buffoorney. That’s not the reality whites EVER have to accept, adapt to or address. This is not playing the race card…as there is no card to play when this is your life.
My grandmother was a maid, like these women in the film. She went to work every day for the local car dealer’s family…doing housework, cooking their meals and taking care of their kids for $5/day. She supplemented her income ironing white people’s clothes from town. She raised 10 kids and helped with the war effort at home. While a film like “The Help” gives her a voice, it also robs her of hope that things will get better. After all, one maid quits her job even though her options are extremely limited and she has jeopardized her own safety by helping Skeeter…the other maid accepts a position to be the lifetime maid of another couple and then leaves her abusive husband…and the third maid that we come to know is rotting in jail. The only people who make out with better futures are the white characters….Skeeter is off to New York. Celia learns how to cook and, through the “wisdom” of her maid, learns how to communicate with her husband and develops self worth. The young white child Viola was raising may get a “fighting chance” because Viola tells her mother to give her one. And Hilly may actually become a better person who’s finally learned the error of her ways.
Finally, there is one part that really summarized this whole film to me. At one point, Skeeter is sitting at Viola Davis’s table. She asks her if she ever wanted to do anything else rather than be a maid. Viola Davis nods…and Skeeter never follows up with her to ask her what she wanted to do. My feeling was she didn’t ask because it was irrelevant…irrelevant to the story and to the reality of the time. Black women didn’t have choices, so there was no reason to speak of dreams that they both knew were empty.
All in all, I think this film is a nice effort for what it was, and fluff for what it was not.
Original Language en
Runtime 2 hr 26 min (146 min)
Director Tate Taylor
Writer Tate Taylor (screenplay), Kathryn Stockett (novel)
Actors Emma Stone, Viola Davis, Bryce Dallas Howard, Octavia Spencer
Awards Won 1 Oscar. Another 78 wins & 121 nominations.
Production Company 1492 Pictures, Harbinger Pictures
Sound Mix Dolby Digital, SDDS, Datasat
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex Millennium XL2, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Laboratory DeLuxe, Hollywood (CA), USA (prints), EFilm (digital intermediate)
Film Length 3,993 m (Portugal, 35 mm), 3,996 m (Sweden)
Negative Format 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema