The Help

It has often been observed that, before the era of civil rights, South America, while more racist than the north, was in a much more enlightened: Even at the height of the evil of Jim Crow, blacks and Whites have coexisted with a relaxed and run daily intimacy. They had lived together all their lives, after all, since the days of slavery. The aid, an emotion enveloping, strong on the big screen adaptation of Kathryn Stockett powerful 2009 novel, is rooted in the profound truth that almost any Hollywood film I can name. It includes at''adskillelsen''af races in the South was not only a crime - it is a great illusion.

At first, Aibileen Clark (Viola Davis), a serious and solid, they seem so indifferent it will take a moment to see a silent protest in her eyes, tells us that he is just like his mother's maid, and that his grandmother was a slave house. And 'of 1961, and no-nonsense manner, communicate this information is surprising, because it is really telling us that he is a slave of the house too. He just called a different title. He also says that she has raised 17 white children, so it's another way to serve the word 'however, seems to be insufficient. He nanny - and in many ways, the surrogate mother.

Located in Jackson, Mississippi - the heart of the middle class in the Deep South - Help is Aibileen history, and is also the story of his best friend, Minny (Octavia Spencer), a mischievous pixie face Aibileen a housewife / cook one spirit and contempt is prudent. Davis and Spencer are both bright, ardent hope that these women and broken dreams, with each line, and between lines, too. The film is also his companions, and working women - a group of envy, happy housewives (who are like Betty Draper South fries), which are exactly the type of bridge-club-and benefit that movies love to caricature.

But one of the pleasures of using laborious is that there is a caricature. Every woman on the screen is fresh, lively and in three dimensions, whether Elizabeth (Ahna O'Reilly), the conformist young woman who sells her motherly duties, including care Aibileen, Hilly (Bryce Dallas Howard), the princess and aggressive out-of-the-closet racists who think that by forcing Minoune to use a bathroom again, it is the preservation of the cause of racial harmony (it keeps everything in its place) or Celia (Jessica Chastain), the scaly, lost, Marilyn-esque white-trash girl who hires Minoune rich in a hurry. In support, the issue of the bathroom almost mythical - the national equivalent of lunch counters and back of the bus. Bryce Dallas Howard, playing the soul of what has changed, gives a brave performance, treacherous smile, his eyes to wake up every nuance of servility (his daughter and her friends, too).

Age cohort of hills, just back from college, is Skeeter Phelan (Emma Stone), which has already exceeded this circle, but not really sure where to turn. She began working in the Official Jackson, doing an advice column cleaning, and as she knows nothing about housekeeping, decided to get notes Aibileen. It is, in part, is what drives Skeeter to make a book of interviews with officials in Jackson, tells the story of domestic life in the South, from their point of view. The book is dangerous to write, and eventually cause a stir, and is the main engine of the film. I liked Stone eyes looking like a goblin comics, but here, playing a young woman wiser than anyone around, does not shine - which holds the film together. Harassing his mother (Allison Janney) to tell why the family of Constantine right of 29, was mysteriously let go, you feel everything I wanted to tell his family.

And Cicely Tyson, in flashback makes Constantine, in his speech problem, so vulnerable yet squinchy-telling that your heart breaks for him.

Help me I have a naughty, humorous side. The film comes at an incredibly vengeful episode where Minoune book is like dessert to rolling. After a while, but the humiliation of the moment becomes too drained. The aid was written and directed by Tate Taylor, who is not a film artist (I kept trying to imagine what Robert Altman could have done with this set), but he keeps hitting full, the Notes robust straight-down-the Middle emotions. The film is not perfect, but sometimes shows its seams. But above all it is a poignant tribute to the oppressed women who keep their heads high.

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