Review of The Help (2011) by Andrea M — 25 Jan 2014

A beautiful film which manages to be both profound and profoundly enjoyable, 'The Help's true highlight is the incredible strength of the performances. Each character is so skillfully and emotionally developed that at times you forget you're watching a film.

The film's themes of discrimination are subtly presented and, while mostly focusing on the horrors of racial segregation in the mid-century Deep South, it also touches on two other forms of prejudice - sexism (the way in which women are expected solely to marry, have children and be possessions to their wives, from the WASP-y girls of the Junior League to the African-American maids such as Minny, who deals with an abusive husband) and classism (the way in which Celia, a humble woman with a poor country background, is snubbed by the elitist girls in Hilly Holbrook's circle).

The story interweaves all these themes together, proving to be a potent outlook on the intense racial discrimination, gender stereotypes and class division in a troubled society which tries at all costs to 'gloss' over these problems.

By the end, Aibileen (Viola Davis) delivers perhaps one of the most powerful lines in recent cinematic history - "You're a godless woman" - to the reactionary belle, Hilly. In that one word alone, the pain of long-seated wounds, the soul of an empowered woman and many other indescribable things are summarised.

Godless is such an incredible term to use, a word which, while being culturally-appropriate to the religious South, sums up many connotations - evilness, hopelessness, double-sidedness, immorality, amorality, heartlessness, coldness, lack of direction or moral compass.

One of the most brilliant lines written and delivered in film history. 'The Help' is truly one of those films that make you feel differently about life, both shocking you at the state of human nature, but similarly giving you hope that change can happen.

My only qualm is one which some others have pointed out - the film does occasionally veer into slightly stereotypical territories. Now, I've never been to Jackson, Mississippi, but occasionally it seems that there is a tendency to focus on Southern archetypes.

But, in all, as a work of cinematic art and entertainment it works superbly, and it remains as a favourite.