Now that I’m done crying my eyes out, a few words on Tate Taylor’s “The Help,” which I caught this afternoon.
It’s a beautiful film, safe, sure, but it knows where to lay the emotional hammer down and where to let the rock keep skipping on the surface. Most striking is the ensemble, as there isn’t a single bad performance in the film. In fact, I’d say all of the them are comfortably above average, the highlights coming from Viola Davis and Octavia Spencer. But then Jessica Chastain was my personal favorite. Oh, and what about Sissy Spacek leaving you in the aisles?
You see? It takes a real special touch to get this kind of across-the-board perfection out of a cast. Bryce Dallas Howard has pinpoint devilish precision. Allison Janney wiggles her way into your heart even after you don’t want her there. Ahna O’Reilly captures that locked-in submissive state wonderfully. Cicely Tyson punches you in the gut with just a few minutes of screen time. On and on. Oh, and Emma Stone…duh.
Stone is great here, a solid anchor. She has a wallop of a line to her mother — four little words — that are delivered with such conviction that I thought I’d fall out of my chair weeping. (Okay, going overboard, but it was a hell of a line reading.) But she’s really just part of the vast assemblage here, and it’s really the best ensemble performance I’ve seen this year. Hands down.
Based on a best-selling novel that I wouldn’t know anything about (but certainly hit home with the “Eat Pray Love” crowd), the film tells the story of Skeeter, an upstart journalist dreaming of a chance to write something meaningful in early-60s Jackson, Mississippi. She finds that opportunity when she decides to write a book from the point of view of “the help,” African-American maids who keep the ship afloat and, most importantly, are as — and in most cases, more — responsible for raising white children as the parents. It’s dangerous to tell these stories in the Jim Crow south, but it’s a calling for Skeeter and a duty for the help.
And the story just sings. It sings because the character work is just so pointed and profound. I thought the film had a bit of a soft landing, as certain lessons you want to be learned just aren’t laearned, but then again, what would be more truthful than that? The whole thing ends up hinging on a (gross) gag that ever-so-slightly diminishes things, but it’s never not good for a laugh and it’s apparent everyone is well aware of the ridiculousness of that particular point, so it’s harmless. I was just caught up in how much I genuinely cared for the characters. And I think that’s always high praise.
Speaking of “Eat Pray Love,” which opened on August 13 last year, “The Help” is slated for an August 10 release date, going after that late-summer, best-seller adaptation money, I suppose. And that’s wise. So awards stuff is probably in mind but a secondary goal at the moment. Regardless, there would be a bevy of campaigns you could launch on this one. As I said, Jessica Chastain was best in show for me. She’s having a real coming-out this year. But Viola Davis would be the obvious choice to rally around, and assuming Disney wants it, it’s definitely in the cards. Octavia Spencer is hilarious and a natural fit, too, so maybe just flip a coin.
The point is, everyone on this cast deserves a piece of whatever awards attention may be coming the film’s way. Bravo to all involved.
[Photo: Walt Disney Pictures]
Comments
73 responses to “‘The Help’ and the year’s best ensemble performance…so far”
Glad to hear that; I’m probably in the minority but I’ve seen a lot I liked this summer, and I was hoping there’d be at least one strong August release to close things out.
I saw this on Monday, and Jessica Chastain was the standout for me too. She’s given plenty of room to work the emotionality of her character while also making me laugh every time she’s on screen. But obvious awards bait is probably Viola Davis.
I can see this film really taking off. I haven’t seen a crowd so behind a movie since The Blind Side, which I wasn’t all that impressed with. This one really caught me off guard; great movie.
Wiggin’ out, here. I keep hearing good things about this. All of my friends have read the book and loved it. They can’t wait to see the movie. And now I can’t.
Wow, I’m really suprised at the heavy praise. I’ve heard so many people were skeptical about this film, so I wasn’t sure if it would be all that good. I’m so glad to read this though. The book is one of my favorites this year, in fact, I just finished it a few weeks ago.
Most of all, I’m happy that Emma Stone is really proving to be a solid actress and from the sound of your review, she really does something. Same goes for Chastain.
I really hope I have the same reaction to the film as you Kris, it’s one I’ve been looking forward to for a while. I’m surprised to hear your thoughts on Jessica Chastain, not because I don’t like her but just because I didn’t know how big her part was. Viola Davis and Octavia Spencer have been the ones that everybody has suggested for awards recognition, but once I saw the trailer I had a feeling that maybe Bryce Dallas Howard could get some love too. I know her character is vile, but the way she seemed to be sinking her teeth into the material had me convinced.
Kris, you didn’t actually like ‘Eat Pray Love’, right? I couldn’t even sit through the entire film.
Didn’t see it.
And my mom is reading the book right in my living room as I read this review lol.
I don’t know. I obviously haven’t seen it, but it doesn’t rub anyone else the wrong way that a group of white filmmakers are making a film about white characters doing righteous things during the Civil Rights movement for white audiences to feel good at?
I just re-watched the trailer and it makes the movie look a lot brighter and cheerier than the story really is, despite the pretty cover jacket and easy-to-read font.
Who the heck is Tate Taylor?
Almost as annoying as a white guy complaining about white filmmakers making a film about white characters doing righteous things during the Civil Rights movement for white audiences to feel good at.
In all seriousness, I tend to agree with you Chad, but until I hear people actually complaining that the movie is in someway actually demeaning to black people and civil rights, I’m not going to worry about it. Americans whitewashing (no pun intended) the sins of their past isn’t exactly a new pastime.
That was @ Chad #9, obviously.
SJG- I’m sure that the filmmakers made every effort to not be demeaning to black people or civil rights, but it just seems inherent. Anyway, I should see it before getting into it any further.
Chad: Where was your indignation over “Sugar?” I get really tired of that kind of comment, personally. As if it’s impossible to do research and convey something without actually walking in another person’s shoes.
In any case, the seed of your beef is obviously about a white person being the hero here, but that doesn’t fully wash because — well, just see the movie.
Weird. The trailer looks to me to be for the worst film of 2011.
What’s the tone?
I have no problem with people going outside their own demographic or status like “Sugar”, and in fact I respect it. But the potential issue here is mining that specific period for feel good stories aimed at making white people feel better about themselves.
But I’ll stress again, that’s just what I feel is the worst-case scenario for the film and not what it definitely is.
I have a slightly different criticism than Chad. Why is it that Hollywood films only portray social issues that everyone is going to be in agreement with? They love to go back fifty years and show injustices that have since been overcome. It seems to me to be a way to appear socially conscious without actually ruffling any feathers.
What would you suggest, James?
James D. – legitimate point but hardly a question since we all already know the answer.
Homosexuality not rooted in the past (Milk and Brokeback Mountain). Abortion. The morality of torture. Things that generally divide people more than segregation.
I don’t think we really see that from mainstream filmmaking.
When it sells, you’ll see it. So get mad at audiences.
Tapley drops the truth bomb.
“The morality of torture.”
You ever see Unthinkable with Sam Jackson and Michael sheen?
Didn’t “Crash” (the Paul Haggis film, obviously) do pretty much what James is asking for — and still get stick in many quarters for being smug liberal filmmaking? I dislike the film for many reasons, but I do commend it for being fairly aggressive in its contemporary issue-mongering.
Hollywood films are not the first responders to social issues. Unfortunately.
I’m excited to see it just for Allison Janney. Such an undervalued actress.
There are plenty of Crazy-Christian films about abortion, but that’s probably not what you meant.
Saw it last week and totally agree with you Kris. Great ensemble performance. I came away feeling that Viola Davis is a lock for a nomination.
I’m not sure how the Academy will go for this film but I always saw it as a no brainer for a SAG ensemble nod. Though there so many huge ensemble pieces this year who knows?
Harry Potter and the Deathly Hallows
The Help
Crazy Stupid Love
Drive
The Ides of March
Tinker, Tailor, Soldier, Spy
Carnage
Contagion
And I’m sure I’m forgetting plenty.
Glad to hear this from you, Kris. Wasn’t sure how this one was going to pan out, and I usually take a good review from you or Guy as a pretty ringing endorsement. I was such a fan of what Chastain did in Tree of Life so I’m glad to see her year continuing strong.
Wow. I would not have predicted such praise for this movie. But if nothing else, it makes me happy for the cast.
I’m glad to read this. I think the trailer is pretty terrible, and it’s been attached to almost every movie I’ve seen for the past two months, so I’ve only had contempt for The Help. But you sold me here. Nothing beats a great ensemble.
Re: whether Hollywood does as good of a job tackling contemporary social issues that are highly contentious as it does “settled” issues that are no longer as contentious, can I actually make the case that, in many cases, it does?
For example, with regards to the abortion issue, I think Hollywood does a very good job of presenting the nuances and moral ambiguity with which many Americans think of the issue. Hollywood isn’t a Political Action Committee. Movies are not PSAs. I would resent watching a movie that took a blatant advocacy position on abortion on either side. But movies as divergent as “Juno” and “Revolutionary Road” have tackled the issue just in the last half-decade, and done so in a very intelligent and, for some, eye-opening way. I don’t think that qualifies as ‘not addressing’ the issue.
Or, with regards to homosexuality, I would say that Hollywood has long done a decent job of addressing the issue. Even during the years with “the Code” a lot of pictures implied homosexuality when they could get away with it, and it’s been addressed blatantly in high-profile and critically and commercially successful films like “Victor Victoria”, “Four Weddings and a Funeral”, and “Billy Elliott”. Admittedly, even since it’s been socially permissible to address the issue, there have still been projects like “The Color Purple” and “Fried Green Tomatoes” that refused to tackle the issue, but I think that’s more the result of timid filmmakers than a result of audiences genuinely refusing to accept movies that portray it.
It’s the same with many other contemporary social issues, I think. Hollywood may be timid at times, but I don’t think it does such a bad job of tackling divisive and contentious issues.
Sometimes it’s even pretty prescient and subversive. I think a movie like “The Pineapple Express” does a better job, deliberately or not, of decrying the drug war than any serious and high-minded drama that would address the subject head on.
Just my thoughts.
Also, I just have to add…
Even though I don’t think Hollywood does such a terrible job of tackling contemporary issues, I do agree that there’s a really cloying propensity for Hollywood to continuously pat people on the back for finally coming around on issues that are settled.
There’s nothing more annoying than sitting through some self-congratulating, overwrought Holocaust drama where everyone feels morally superior to 1940’s Germany…. knowing all the while that many of the people who are so outspoken in their condemnation of something that happened before they were even born would probably not say a peep if Uncle Sam decided to round up Muslims and throw them in concentration camps.
Ah, this makes me so happy! I thought the book was terrific (even though I’m a young guy) and I already love so many of the actresses involved in the film. Fantastic to hear strong praise from a critic I trust, especially for a movie that could easily have dissolved into kitsch. (And, if I may brag for one second, I believe I called the Jessica Chastain performance when Kris’s preliminary list of contenders was released.)
By the way, Octavia Spencer (the actress) was actually the inspiration for Minnie, the character she plays – the author of the book, Kathryn Stockett, is a close friend of Spencer’s.
SJG: I guess our difference in opinion comes in our analysis of how films tackle issues. I don’t see how Juno tackled abortion at all, and Revolutionary Road did just about everything wrong, at least to me.
Wait wait wait. Cicely Tyson is in this?? Even if Kris didn’t just say this movie is full of actresses giving great performances, that would be enough. Looks like I’ve got plans on Wednesday.
I thought the lesbianism was more than fine in The Color Purple. It was alluded to the right amount. (Rather obviously honestly.) If it kept going that route, I think it would have detracted from Celie’s evolution as a woman. It would also have made a ham-handed statement about men “pushing” her into that lifestyle.
Nice white lady premise always sells tickets. The Help is going to be a commercial success.
***Homosexuality not rooted in the past***
“My Own Private Idaho?” “Mysterious Skin?” “A Single Man?” “Beginners?” “The Kids Are All Right?” There’s plenty more.
***Abortion.***
“Blue Valentine.” “4 Months, 3 Weeks and 2 Days.”
***The morality of torture.***
“Unthinkable” and “Rendition” come to mind right away.
Kris,
Was Stone good enough to garner awards momentum? Her star is still rising, and the premise of this film is so baity; I’ve always thought that a good performance for her would place her in strong contention for this film. She seems to be giving a more likable performance than Tilda Swinton and could steal star-in-making hype from Olson.
Maybe Globes. Maybe.
Speaking English: While I agree with your general point, aren’t you forgetting that “A Single Man” and “4 Months, 3 Weeks and 2 Days” are set in the 1960s and 1980s, respectively?
If the film is that good and becomes a box office success, which it is likely to given the novel’s huge success with women readers, I think the Academy is going to pounce on this as a way to nominate African American actors, who sound like they deserve it.
(Of course they ignored the wonderful ensemble of The Joy Luck Club but that’s because Asian American actors are invisible to Academy members.)
Assuming (though, I could be completely wrong, haven’t read the book) that ‘The Help’ is placed Comedy at Globes, maybe Stone could sneak in there?
The list for the ladies seems to be growing in that category, no? Wiig, Rudolph, Diaz, McAdams, Aniston, Roberts, Julianne Moore, Kunis, etc..
McAdams is not a lead in Midnight in Paris. If Cotillard is considered a lead, then she’ll definitely get in.
Kris, how big is Sissy’s part in the film and what’s her potential for an oscar nom, etc? She’s sorta hot off an almost nom last year for Get Low (or at least seemed to be on most short lists, 6th – 10th on lists it seemed) and is the most nominated and awarded generally of all the cast. Would love to see her in the race a decade after In the Bedroom where she seemed destined to win her 2nd oscar until near the end. Brilliant actress.
Speaking English: Most of those films are not mainstream Hollywood filmmaking.