Review: The Help

Having already proven to be a huge box office success in the US, The Help hits UK cinemas on 26 October.  Featuring a terrific ensemble cast, this adaptation of Kathryn Stockett’s book is headed up by Emma Stone as Eugenia ‘Skeeter’ Phelan, a young journalist raised by her black maid who sets out to give a voice to the women who raise white children but aren’t even allowed to use the same toilets as the families they work for.  The Help wonderfully conveys the 1960s setting and while Stone is a strong lead, this film truly is about the help, as the supporting players steal the show.

Tate Taylor, director of The Help: What's not to like about this film?

Newly employed at the Jackson Journal in Mississippi, Skeeter, a would-be “serious writer” tasked with ghost-writing a housekeeping advice column, seeks tips from her friend’s maid, Aibileen. Faced with the loss of her own family’s maid- and the woman who raised her, Skeeter becomes determined to “show what it’s really like in Jackson… the good and the bad” and convinces Aibileen to share her life’s story.  The following tale and that of her fellow maid and confidant, Minny, gracefully encompasses difficult topics such as maternal neglect, domestic abuse, miscarriages, gender roles and, of course, racism.  The script perfectly delivers humour, drama and sentimentality without losing direction.

Oscar nominee Viola Davis is nothing less than terrific as Aibileen, the initial subject of Skeeter’s focus.  She depicts a reluctant yet strong character whose loyalty is irreproachable.  Arguably, the standout star of The Help is Octavia Spencer’s Minny, the beleaguered housekeeper of the uppity Hilly Holbrook (Bryce Dallas Howard, excelling in a thankless role).  Watching Minny’s character develop over the two hours is a treat and the “terrible awful” is an absolute classic with its teased build up and magnificent reveal.  Howard represents the strife and hypocrisy faced by the maids to perfection, maintaining villain status without crossing over into caricature. All three of these performances could easily chalk up a best supporting actress Oscar nomination and that’s not even mentioning rising star Jessica Chastain’s nearly unrecognisable turn as Celia, the ostracised housewife. Chastain’s brilliant  portrayal of the “tacky” blonde provides a compassionate yin to Howard’s cold-hearted yang.

The Help essentially has two parts, as there is the lead up to the publishing of Skeeter’s book, which is then immediately followed by the consequential fallout, yet the film is no less compelling at any point along the line.  A sharp, intelligent script makes this tale of empowerment highly entertaining and inspiring without becoming overly sentimental or sweet, a definite credit to director Tate Taylor, who also handled screenplay duties.  Vibrant and full of warmth, each of The Help‘s 145 minutes is a pleasure to watch.  While this is very much a film driven by strong female figures, it strays far from “chick-flick” territory and provides vast appeal for a wide demographic.  Simply stated, The Help, with a handful of award-worthy performances and an outstanding script, is one of the finest films to hit cinemas this year and should not be missed. 10/10